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THE BEN GREET SHAKESPEARE 

FOR YOUNG READERS AND AMATEUR PLAYERS 




TOUCHSTONE 
"77/ rhyme you so eight years together " 








OO^Si 







ALL RIGHTS RESERVED, INCLUDING THAT Of TRANSLATION 
INTO FOREIGN LANGUAGES, INCLUDING THE SCANDINAVIAN 

COPYRIGHT, 191 2, BY DOUBLEDAY, PAGE & COMPANY 






i\ I J^ 



CC1.A314333 



A FEW GENERAL RULES OR CUSTOMS 
OF ACTING 

The letters R and L indicate the position of 
players on the stage facing the audience. 
Rlj Ll are the entrances nearest the front. 
Go up means from the audience; go down 
is toward the audience. R C is the right 
side of the centre, — and so forth. 

When the characters enter, the person speaking 
generally comes second. 

Do not huddle together; do not stand in lines; 
and do not get in such angles that you cannot 
be seen by the sides of an audience. 

Stand still — keep the leg nearest the audience 
back, gesticulate seldom and with the hand 
farthest from the audience. Do not point to 
your chest or heart when you say 7, my and 
mine J nor to your neighbor when saying thou, 
thy, and thine, unless absolutely necessary. 

Try to reverse the usual acting of the present 
day and eliminate the personal pronoun 



vi RULES OR CUSTOMS OF ACTING 

as far as possible (Shakespeare does it all the 
time). Occasionally the pointing gesture is 
necessary — but seldom. 

Do not try to say more than six words, or at 
most eight, in one breath. Careful punct- 
uation and accent are harmonious and neces- 
sary. Whatever you do, sound the last 
two or three words of the Kne or sentence: 
dropping the voice is the worst fault of our 
best actors. Do not speak to your audience 
or at your audience, but with your fellow 
actors, remembering, of course, that you have 
invisible listeners, and that the last man in 
the house wants to hear and see. 

Do not imitate our star actors. Try to be 
natural, spontaneous, and original. At the 
same time, keep control of yourself and your 
emotions. To appear to be, and not really 
to be the character you are acting, is, perhaps, 
the perfection of the art. 

Don't fidget your hands and feet — forget 
them, and let them be where the good 
Lord has placed them. 

These few hints will be useful for all plays. 
I shall give more intimate notes as we go along. 



RULES OR CUSTOMS OF ACTING vii 

The diagrams show the positions, entrances, 
etc. 

The plays are cut to the length of an ordinary 
performance. Lines can be restored or further 
cut, if desirable, always remembering that a 
play given on what we will always call the 
Shakespeare stage should be given more rapidly, 
with no pauses between scenes or between en- 
trances and exits, and with possibly only one 
intermission (of perhaps five minutes), as near 
as possible halfway through; and most of the 
plays can be acted in their entirety in about 
three hours, some of them in much less time — 
one or two of them take much more. If we can- 
not quite reduce ours to the happy medium of 
two hours, we must get as near it as possible. It 
is better to send your friends away wanting more, 
than to have them go home yawning 1 This is a 
word to the wise. 

As to stage setting, it can be done in lots 
of ways: with scenery, or with screens, or 
curtains, or in the open air. Strange as it 
may appear, the plays of Shakespeare are 
equally effective whichever way we may choose 
to give them. I imagine most good plays will 
bear that test. 



viii RULES OR CUSTOMS OF ACTING 

Remember that Shakespeare is the most 
perfect English. Do not imitate some of 
those professors, especially teachers of what 
is called Elocution and Expression, if by any 
chance they happen to pronounce it in up-to- 
date American or cockney British, or tell you 
it was conceived in any other brogue, accent, or 
pronunciation than the purest of pure English. 
There are a few mistakes in his plays, and some 
printer's errors, about which volumes have 
been written. Study the humanity, the heart, 
the English of Shakespeare, as of the Bible — 
those two wonderful Books of the same gener- 
ation — the one splendidly revised and per- 
fected by many scholars, the other produced 
in a state of nature and yet almost perfect — 
study them, my young friends, inwardly digest 
your Bible and outwardly demonstrate your 
Shakespeare: you will then start in life pretty 
well equipped. 



AS YOU LIKE IT 




CHARACTERS IN THE PLAY 

Duke, living in banishment. Sir Oliver Martext, a vicar ^ 
Frederick, his brother, and Corin, ) shepherds. 

usurper oj his dominions. Silvius, ) 
Amiens \ lords attending on William, a country fellow, in 
Jaques,! f the banished duke, love with Audrey. 
Le Beau, a courtier attending A person representing Hymen. 

upon Frederick. 
Charles, wrestler to Frederick. Rosalind, daughter to the 
Oliver, \ r • j? banished duke. 

jAQUESi \ ^T^//Z ' Celia, daughter to Frederick, 
Orlando, ) ''^'^ o,e Boys, ^^tseby., a shepherdess. 
Adam, \ servants to Oliver Audrey, a country wench. 
Dennis, f Lords, pages, and attendants^ 

Touchstone, a clown. etc. 

''^ Means "pause." 



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2?., Right. 22. C, Right Centre. C, Centre. L. C, Left 

Centre. L., Left. 

Audience 

I am presuming that the stage is a small one. 
These are general directions for all stages: at the 
back is the drop; about two or three feet from the 
wall we must avoid, as much as possible, having 
people walk behind, as it shakes the cloth. There- 
fore the farther forward the drop is, the better. 

Three '' wings ^' each side, three or four feet apart, 
are enough for any scene, and if there is any stage 
space to spare let it be from the footlights to the 
first wing. Try and have a stage cloth of light 
brown, an idefinite colour, which can remain all 
through the play. A few footlights and one or 
two "borders^' are necessary. '' Borders'' are the 
overhead lights. 

If the play is in the open air and on an natural 
stage much the same positions can be used. If it 



ACT I 

Scene I. Orchard of Oliver's house. 

Enter Orlando and Adam from L i, or they can 
he discovered. 

Orl. As I remember, Adam, it was upon this 
fashion bequeathed me by will, but poor a 
thousand crowns, and, as thou say'st, charged 
my brother, on his blessing, to breed me well: 
and there begins my sadness. My brother 
Jaques he keeps at school, and report speaks 
goldenly of his profit: for my part, he keeps me 
rustically at home, or, to speak more properly, 
stays me here at home unkept: for call you that 
keeping for a gentleman of my birth, that differs 
not from the stalling of an ox? His horses are 
bred better. This is it, Adam, that grieves me; 
I will no longer endure it, though yet I know 
no wise remedy how to avoid it. 

A dam. Yonder comes my master your brother. 

5 



is on a built stage the exits and entrances must all 
be from one rights one left, and possibly one 
centre entrance, and regulated accordingly. If an 
Elizabethan setting, the position and business are 
same as open air stage. 

First Scene — An Orchard, 

The scene can be a plain wood, drop or front 
scene with or without a little house piece L, If 
you use house piece have a practicable door. In 
open air plays the scene is not changed. Pieces 
of rustic seats or stumps of trees are scattered 
around RC,LC, and up stage R. This scene and 
the next two scenes are often omitted in open air; 
play beginning with the banished Duke's entrance. 

It is allowable to cut long speeches, as long as 
their meaning is not lost. Also a very slight alter- 
ation of scenes is justifiable where time and space 
are limited. This rule stands for all the plays. 

Noblemen should always be followed as far as 
possible by one or two attendants. Royal per- 
sonages by more. 

^Puts his right hand on Orlando^ s left shoulder, 
then both hands. 

^Puts his right hand on Oliver^ s chest and makes 
him kneel. 



AS YOU LIKE IT 

Orl. Go apart, Adam, and thou shalt hear 
how he will shake me up. 

Enter Oliver with Dennis from R i, 

OH, Now, sir! what make you here? 

OrL Nothing: I am not taught to make any- 
thing. 

Oli, What mar you then, sir? 

Orl. Marry, sir, I am helping you to mar 
that which God made, a poor unworthy brother 
of yours, with idleness. 

[Dennis goes ojf R. 
Dennis, Oliver, Orlando, Adam. 

Oli. Know you where you are, sir? 

Orl. O, sir, very well: here in your orchard. 

Oli. Know you before whom, sir? 

Orl. Ay, better than him I am before knows 
me. 

Oli. What, boy!^ [Strikes at him. 

Orl. Come, come, elder brother, you are too 
young in this.^ [Takes him by the throat. 

Oli. Wilt thou lay hands on me, villain? 

Orl. I am no villain; I am the youngest son 
of Sir Rowland de Boys; he was my father, and 
he is thrice a villain that says such a father 
begot villains. 

7 




Orlando 



^Going to hack of them as if to intercede. 
^Lets him go. Oliver rises ivith gesture of dis- 
gust, brushes himself down, etc. 
^Goes to door of cottage L. 
^Going toward door. 
^Goes to R i; turns toward C R. 



AS YOU LIKE IT 

Adam. Sweet masters, be patient^ : for your 
father's remembrance, be at accord. 

OH. Let me go, I say. 

Orl. I will not, till I please: you shall hear 
me.^ My father charg'd you in his will to 
give me good education: therefore allow me such 
exercises as may become a gentleman, or give 
me the poor allottery my father left me by tes- 
tament; with that I will go buy my fortunes. 

Oli. And what wilt thou do, beg? when that 
is spent? Well, sir, get you in: I will not long 
be troubled with you; you shall have some part 
of your will: I pray you, leave me. 

Orl. I will no further offend you than be- 
comes me for my good.^ 

Oli. Get you with him, you old dog. 

Adam (who remains C). Is *'old dog" my 
reward? Most true, I have lost my teeth in 
your service.'* God be with my old master! 
He would not have spoke such a word. 

[Exeunt Orlando and Adam, affectionately, L i, 

Oli.^ Is it even so? begin you to grow upon 
me? I will physic your rankness, and yet give 
no thousand crowns neither. (Turns and calls.) 
Holla, Dennis! 

9 



Notes about gesture, etc. — When there are no 
movement directions, it is always best for the per- 
former to keep still. Use very few gestures, so 
that those that are necessary do not lose their effect. 
Do not emphasize pronouns, and never point to 
your chest to indicate a personal pronoun. 

Notes about ^^make up^' — Use very little; what- 
ever you do, don't paint your lips a dark red! 
A very little red — the natural colour — should be 
used. Do not blue or gray your eyelids or you will 
look like a parrot. Be careful of blue or green 
lights; they turn the red or brown make-up black. 



lO 



AS YOU LIKE IT 



Enter Dennis R i. 



Den, Calls your worship? 

Oli. Was not Charles, the Duke^s wrestler, 
here to speak with me? 

Den. So please you, he is here at the door and 
importunes access to you. 

[Exit Dennis L i, 

Oli. Call him in. 'T will be a good way; 
and to-morrow the wrestling is. 

Enter Charles R j. 

Cha, R. Good morrow to your worship. 

Oli. L. Good Monsieur Charles, what's the 
new news at the new court? 

Cha. There's no news at the court, sir, but 
the old news: that is, the old Duke is banish'd 
by his younger brother the new Duke; and three 
or four loving lords have put themselves into 
voluntary exile with him, whose lands and 
revenues enrich the new Duke; therefore he 
gives them good leave to wander. 

OIL Can you tell if Rosalind, the Duke's 
daughter, be banished with her father? 

Cha. O, no; for the Duke's daughter, her 

II 



AS YOU LIKE IT 

cousin, so loves her, that she would have followed 
her exile, or have died to stay behind her. 

Oli, Where will the old Duke live? 

Cha. They say he is already in the forest of 
Arden, and a many merry men with him; and 
there they live like the old Robin Hood of Eng- 
land; they say many young gentlemen flock 
to him every day, and fleet the time carelessly, 
as they did in the golden world. 

Oli. {Coming to C.) What, you wrestle to- 
morrow before the new Duke? 

Cha. Marry, do I, sir; and I came to acquaint 
you with a matter. I am given, sir, secretly 
to understand that your younger brother Or- 
lando hath a disposition to come in disguis'd 
against me to try a fall. Your brother is but 
young and tender; and, for your love, I would 
be loath to foil him, as I must, for my own 
honour, if he come in. 

Oli. Charles, I thank thee for thy love to me. 
I had myself notice of my brother's purpose 
herein, and have laboured to dissuade him from 
it; but he is resolute. And thou wert best look 
to 't; for if thou dost him any sHght disgrace 
he will practise against thee by poison, entrap 

13 



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Have the seat placed just behind the front drop; 
the sundial L C is ornamental, hut not essential. 

A seat for Duke Frederick on platform, or, 
if no platform, up stage R C. 

The platform is not necessary; it makes the 
scene more important, and it can he used in the 
forest scenes, covered with green or hrown haize 
or hurlap. 



14 



AS YOU LIKE IT 

thee by some treacherous device and never 
leave thee till he hath ta'en thy life by some 
indirect means or other; for, I assure thee, and 
almost with tears I speak it, there is not one so 
young and so villainous this day living. I speak 
but brotherly of him; but should I anatomize 
him to thee as he is, I must blush and weep 
and thou must look pale and wonder. 

Cha. I am heartily glad I came hither to you. 
If he come to-morrow, I'll give him his payment. 
If ever he go alone again, I'll never wrestle for 
prize more, and so God keep your worship 1 

Oli. Farewell, good Charles. {Charles exits 
R I.] Now will I stir this gamester: I hope I 
shall see an end of him; for my soul, yet I know 
not why, hates nothing more than he. Yet he's 
gentle, never school'd and yet learned, full of 
noble device, and indeed so much in the heart 
of the world, and especially of my own people, 
who best know him, that I am altogether mis- 
prised: but it shall not be so long; this wrestler 
shall clear all: nothing remains but that I 
kindle the boy thither; which now I'll go 
about. [Exit R i. 



IS 



^7/" there is a terrace they come from R and down 
steps. Rosalind comes first and Celia follows; 
they go L C. 

Note A . — This is a splendid lesson in pro- 
nouns. As a general law do not emphasize the 
personal pronoun or make any gesture of pointing 
to yourself or others. It is bad manners, bad 
grammar, and bad art. This one speech is written 
as the exception to the rule. 

"^They walk about a little LC to L and then back 
to C. Then sit R C. 



i6 



AS YOU LIKE IT 

Scene II. Lawn before the Duke's palace. 
Enter Celia and Rosalind, R C} 

Cel. I pray thee, Rosalind, sweet my coz, 
be merry. 

Ros. Dear Celia, I show more mirth than 
I am mistress of; and would you yet I were 
merrier? Unless you could teach me to forget 
a banished father, you must not learn me how 
to remember any extraordinary pleasure. {A ) 

Cel. Herein I see thou lov'st me not with the 
full weight that I love thee. If my uncle, thy 
banished father, had banished thy uncle, the 
Duke my father, so thou had'st been still with 
me, I could have taught my love to take thy 
father for mine. 

Ros. Well, I will forget the condition of my 
estate, to rejoice in yours.^ 

Cel. You know my father hath no child 
but I, nor none is Hke to have : and, truly, when 
he dies, thou shalt be his heir; for what he hath 
taken away from thy father perforce, I will 
render thee again in affection; by mine honour, 
I will. Therefore, my sweet Rose, my dear 
Rose, be merry. 

17 



Note A. — In standing upon the stage always 
let the foot next to the audience he drawn hack; 
also gesticulate when necessary with the hand 
farthest from the audience. But donH gesticulate 
at all unless necessary. 



i8 



AS YOU LIKE IT 

Ros. From henceforth I will, coz, and devise 
sports. (Crosses R.) What think you of falling 
in love? (The rest can he spoken if desirable) 

Cel. Here comes Monsieur Le Beau. 

Enter Le Beau and Touchstone from R C 
and down steps and bow elaborately, Rosalind 
R, Celia R C seatedy Le Beau C, Touchstone 
LC, 

Cel. Bon jour, Monsieur Le Beau: what's the 
news ? 

Le Beau. Fair princess, you have lost much 
good sport. (See note A.) 

Cel. Sport! of what colour? 

Le Beau. What colour, madam! how shall 
I answer you? 

Ros. As wit and fortune will. 

Touch. Or as the Destinies decree. 

Le Beau. You amaze me, ladies: I would 
have told you of good wrestling, which you have 
lost the sight of. 

Ros. Yet tell us the manner of the wrestling. 

(Celia sits first — then Rosalind.) 

19 



^Celia sighs and sits L of seat R C. 
^Rosalind sits R of seat R C. 



20 



AS YOU LIKE IT 

Le Beau. There comes an old man and his 
three sons.-^ 

The eldest of the three wrestled with Charles, 
the Duke's wrestler; which Charles in a mo- 
ment threw him and broke three of his ribs, 
so he served the second, and so the third. ^ 
Yonder they He; the poor old man, their 
father, making such pitiful dole over them 
that all the beholders take his part with 
weeping. 

Ros. Alas! 

Touch. L. But what is the sport, monsieur, 
that the ladies have lost? 

Le Beau. C. Why, this that I speak of. 

Touch. Thus men may grow wiser every day : 
it is the first time that ever I heard breaking of 
ribs was sport for ladies. 

Cel. Or I, I promise thee. 

Ros. Shall we see this wrestling, cousin? 

Le Beau. You must, if you stay here; for 
here is the place appointed for the wrestling, 
and they are ready to perform it. (Crosses to 
R C.) 

Cel. Yonder, sure, they are coming: let us 
now stay and see it. 

21 



^Trumpets heard of up L. Celia and Rosalind 
rise and curtsey to the Duke. 

^From L terrace or L 2,, then come down to C, 
Orlando follows and goes L, with Dennis and other 
attendants, taking off jacket and shoes. Charles 
goes down R. The crowd disperse L side; two 
female attendants go down behind seat R; Duke 
goes up to seat on terrace C or up C, 

^Crosses to Orlando. 

^Orlando comes down L C. Ros. R, Celia 
R C, 0. LC, Le Beau goes up and converses with 
Duke, 



22 



AS YOU LIKE IT 

Flourish} Enter Duke Frederick, Lords, Or- 
lando, Charles, and Attendants.^ 

Duke F, C. Come on: since the youth will 
not be entreated, his own peril on his forward- 
ness. 

Ros. R. Is yonder the man? 

Le Beau. R C, Even he, madam. 

Cel. R C, Alas, he is too young! yet he looks 
successfully. 

Duke F. C. How now, daughter and cousin! 
are you crept hither to see the wrestling? 

Ros. R. Ay, my Hege, so please you give us 
leave. 

Duke F. You will take Httle deHght in it, 
I can tell you; there is such odds in the man. 
Speak to him, ladies; see if you can move 
him. 

Cel. R C. Call him hither, good Monsieur 
Le Beau. 

Duke F. Do so: I'll not be by. 

Le Beau.^ (calls.) Monsieur the challenger,^ 
the princess calls for you. 

Orl. L C. 1 attend them with all respect and 
duty. 

23 



AS YOU LIKE IT 

Ros. R C. Young man, have you challeng'd 
Charles the wrestler? 

Orl. L C. No, fair princess; he is the general 
challenger: I come but in, as others do, to try 
with him the strength of my youth. 

Cel. R C. Young gentleman, your spirits 
are too bold for your years. We pray you, for 
your own sake, to embrace your own safety 
and give over this attempt. 

Ros. R. Do, young sir; your reputation shall 
not therefore be misprised: we will make it our 
suit to the Duke that the wrestling might not 
go forward. 

Orl. L C. 1 beseech you, punish me not 
with your hard thoughts; wherein I confess me 
much guilty, to deny so fair and excellent ladies 
any thing. But let your fair eyes and gentle 
wishes go with me to my trial: wherein if I be 
foil'd, there is but one sham'd that was never 
gracious; if kill'd, but one dead that is willing 
to be so: I shall do my friends no wrong, for 
I have none to lament me; the world no injury, 
for in it I have nothing; only in the world I fill 
up a place, which may be better supplied when 
I have made it empty. 

25 



'^Slight curtsey, 

^Slight curtsey. 

When the Duke speaks Rosalind and Celia 
resume their places on the seat R. 

A : Charles is up R and has in the meantime taken 
oj^ jacket, etc. If there are extras, let four soldiers 
come down with pikes or halberds, and stand each 
corner of stage as if to mark of a "ring." Trum- 
pets sound. There are three "rounds" of the 
wrestling. In the first two Orlando seems to get 
the worst of it. Celia and Rosalind speak after 
each round, so giving a short pause between. The 
crowd naturally get more excited; when Charles is 
thrown they break through, which causes the 
soldiers to step fonvard and surround Charles, 
who is thrown at the feet of the princesses, 

^ After first round. 

^ After second round. 



26 



AS YOU LIKE IT 

Ros.^ R. The little strength that I have, I 
would it it were with you. 

Cel.^ R C. And mine, to eke out hers. 

Cha. R U. Come, where is this young gal- 
lant that is so desirous to lie with his mother 
earth? 

Orl. L U, Ready, sir; but his will hath in it 
a more modest working. 

Duke F. C. You shall try but one fall. 

Cha. No, I warrant your grace, you shall not 
entreat him to a second, that have so mightily 
persuaded him from a first. 

Orl. An you mean to mock me after, you 
should not have mock'd me before : but come 
your ways. [They wrestle: A — 

Ros.^ Now Hercules be thy speed, young 
man! 

Cel. I would I were invisible, to catch the 
strong feUow by the leg. [They wrestle again. 

Ros.^ excellent young man! 

Cel. If I had a thunderbolt in mine eye, 
I can tell who should down. 

[Wrestle the third time. 
[Shouts. Charles is thrown. 
Duke F. (rising.) No more, no more. 

27 



^Goes forward kneels over Charles. 

^Pause, whilst Charles is carried by soldiers 
followed off L by crowd. 

^Goes up steps to C off L U. Orlando goes up 
to finish his dressing, assisted by Dennis or some 
other young man friend. The princesses rise. 

^Rosalind motions the waiting woman to go off 
R 2. Orlando J who is now fully dressed, goes down 
to L C. 



28 



AS YOU LIKE IT 

Orl, L C Yes, I beseech your grace: I am 
not yet well breath'd. 

Duke F. How dost thou, Charles? . 

Le Beau} He cannot speak, my lord. 

Duke F, Bear him away.^ -^ What is thy 
name, young man? 

Orl. Orlando, my liege: the youngest son of 
Sir Rowland de Boys. 

Duke F. I would thou hadst been son to 
some man else; 
The world esteem'd thy father honourable. 
But I did find him still mine enemy: 
Thou shouldst have better pleas' d me with this 

deed, 
Hadst thou descended from another house. 
But fare thee welP; thou art a gallant youth: 
I would thou had'st told me of another father. 
[Exeunt Duke Fred.j Le Beau, etc. up L, 

Cel. R C. Gentle cousin, 

Let us go thank him and encourage him: 
My father's rough and envious disposition 
Sticks me at heart. Sir ,^ you have well deserv'd : 
If you do keep your promises in love 
But justly, as you have exceeded all promise, 
Your mistress shall be happy. 

29 



^Orlando kneels. 

^Celia touches her on right arm; Orlando rises, 
curtsey. 

^Rosalind stops a moment as if a little shy, then 
goes a little to C. 

^Orlando remains R C till they go off, 

^Both curtsey again as they go off R i. 

Note. — The curtsey or courtesy, was not a low 
one, like the later French curtsey, or court bow. 
It was a slight inclination of the head, the knees 
just bent. Shakespeare and the writers of his 
time are very insistent on court manners and court 
etiquette. 

Observe the colons: they always seem to indicate 
some movement or stage business. 

^Orlando seems rooted to the ground, then goes 
slightly to R, as if looking after them. 



30 



AS YOU LIKE IT 

Ros. Gentleman. 
[Crosses to C, giving him a chain from her neck. 
Wear this for me/ one out of suits with fortune, 
That could give more, but that her hand lacks 

means.^ 
Shall we go, coz? 

Cel. R C. Ay. Fare you well, fair gentle- 
man. 

Orl. Can I not say, I thank you? My better 
parts 
Are all thrown down, and that which here stands 

up 
Is but a quintain, a mere Hfeless block. 

Ros, He calls us back^: 
I'll ask him what he would. Did you call, sir? 
Sir, you have wrestled well and overthrown 
More than your enemies. 
Cel. Will you go, coz? ^ 

Ros. Have with you. Fare you well. 

[Exeunt Rosalind and Celia.^ 
Orl.^ I cannot speak to her, yet she urg'd 
conference. 
poor Orlando, thou art overthrown! 
Or Charles or something weaker masters thee. 
Re-enter Le Beau on platform L 3 
31 



^Pause, Orlando stops and turns R C; Le Beau 
comes down C. 

^ Moves to C. 

^Le Beau goes quickly up the C steps. 

^Le Beau makes a bow not too elaborate and 
exits L 3. After his exit Orlando goes slowly to 
Lj takes chain in his hand, sighs and exits. 

Note. — It is customary for Celia to be slightly 
shorter than Rosalind, although the Folio has Celia 
the taller. Orlando, of course, refers to the Duke, 
the banished Duke. Le Beau, naturally as a 
courtier, mistakes his meaning. Hence the 
seeming mistake. But Shakespeare seldom made 
mistakes; they are mostly left to his commentators ^ 
and alas often to his players. 



32 



AS YOU LIKE IT 

Le Beau, Good sir,^ I do in friendship counsel 
you 
To leave this place. Albeit you have deserv'd 
High commendation, true applause and love, 
Yet such is now the Duke's condition 
That he misconstrues all that you have done. 
The Duke is humorous : what he is indeed. 
More suits you to conceive than I to speak of. 
OrL I thank you, sir^: and, pray you, tell 
me this: 
Which of the two was daughter of the Duke 
That here was at the wrestling? 

Le Beau. Neither his daughter, if we judge 
by manners; 
But yet indeed the lesser is his daughter: 
The other is daughter to the banish'd Duke. 

Sir, fare you well: 
Hereafter, in a better world than this, 
I shall desire more love and knowledge of you. 
OrL I rest much bounden to you: fare you 
well. [Exit Le Beau. 

Thus must I from the smoke into the smother; 
From tyrant duke unto a tyrant brother^: 
But heavenly Rosalind!^ {Looking at chain.) 

[Exit L z 



There need he no change of scene; merely a slight 
pause about fifteen seconds. If music is used in 
the play a few bars can be played — plaintively. 

^Rosalind comes on R2, goes slightly to L as if 
half looking after Orlando, then sighs as he has 
sighed {without, of course, knowing it), and goes 
to sundial down L C. Celia follows after short 
pause, looks around and playfully watches Rosa- 
lind, then comes down and throws her arms around 
her. If there is no sundial let Rosalind cross to 
R and throw herself on the seat; and Celia comes to 
her there; then they both sit or they can stand — 
as Duke comes on very quickly. The Duke^s 
entrance and manner must strike a tragic note. 

Note. — The value of a slight pause should not 
be underestimated — but it is dangerous to indulge 
in too much, especially in dialogue. It is useful 
to make a slight interval between one person's 
exit and another person's entrance, such as in 
this case. 



34 



AS YOU LIKE IT 

Enter Celia and Rosalind.^ 

Cel. Why, cousin! why, Rosalind! Cupid 
have mercy! not a word? 

Is it possible, on such a sudden, you should 
fall into so strong a liking with old Sir Rowland's 
youngest son? 

Ros, The Duke my father lov'd his father 
dearly. 

Cel. Doth it therefore ensue that you should 
love his son dearly? By this kind of chase, I 
should hate him, for my father hated his father 
dearly; yet I hate not Orlando. 

Ros. No, faith, hate him not, for my sake. 

CeL Why should I not? doth he not deserve 
weU? 

Ros. Let me love him for that, and do you 
love him because I do. Look, here comes the 
Duke. 

Cel. With his eyes full of anger. 

Enter Duke Frederick, with Lords, Lj and 
comes down C. 

Duke F. Mistress, dispatch you with your 
safest haste 
And get you from our court. 

35 



Note. — In all places where the lines are cut 
it is, of course, optional to restore them. The pur- 
pose of these hooks is to help students to an actual 
representation. The question of time, etc., must 
he left to personal circumstances. In this par- 
ticular instance there is no reason why the Shake- 
speare dialogue should not he given, hut at any rate 
it must he spoken rapidly, not ^^ doled outJ^ 

^Rosalind goes up R to hack of seat weeping. 

^Spoken somewhat timidly. 



36 



AS YOU LIKE IT 

Ros. (quickly rising). Me, uncle? 
Duke F, You, cousin; 

Within these ten days if that thou be'st 

found 
So near our public court as twenty miles, 
Thou diest for it. (Goes down slightly to L.) 
Ros, (quickly to C), I do beseech your grace, 
(kneels) 
Let me the knowledge of my fault bear with me: 

(Speech continued if desired.) 
Duke F, Let it suffice thee that I trust thee 

not. 
Thou art thy father's daughter: there's 

enough.^ 
Cel. Dear sovereign, hear me speak. 

[Kneels C. 
Duke F. Ay, Celia; we stay'd her for your 
sake, (C to L.) 
Else had she with her father rang'd along. 

Cel. I did not then entreat to have her stay; 
It was your pleasure and your own remorse^: 
I was too young that time to value her; 
But now I know her: if she be a traitor, 
Why so am I; we still have slept together. 
Rose at an instant, learn'd, play'd, eat together, 

37 



^Celia makes movement, 

^Rises with great dignity. 

^Duke goes up to steps, Celia crosses to R down. 

^Pause ten seconds, then Celia goes to up C, 
looking appealingly after Duke, Rosalind sinks 
on seat R, 



38 



AS YOU LIKE IT 

And wheresoe'er we went, like Juno's swans, 
Still we went coupled and inseparable. 
Duke F. She is too subtle for thee; and her 
smoothness. 
Her very silence and her patience 
Speak to the people, and they pity her. 
Thou art a fool: she robs thee of thy name; 
And thou wilt show more bright and seem more 

virtuous 
When she is gone.^ Then open not thy lips: 
Firm and irrevocable is my doom 
Which I have pass'd upon her; she is banished. 
Cel} Pronounce that sentence then on me, 
my Hege: 
I cannot Hve out of her company. 
Duke F. You are a fool.^ You, niece, pro- 
vide yourself: 
If you outstay the time, upon mine honour, 
And in the greatness of my word, you die. 

[Exeunt Duke Frederick and Lords L j. 

Cel} O my poor Rosalind, whither wilt thou 

go? 

Wilt thou change fathers? I will give thee mine. 

I charge thee, be not thou more griev'd than I 

am. 

39 



^Comes down to L of seat R, 

^Kneels by her. 

^Rises, 

^Still seated. 

Note b. — Do not alter this grammar; even if it 
be doubtful, even incorrect, it is too expressive and 
beautiful. These three lines give a general idea 
of the accenting of iambic metre. The emphatic 
words are so clearly defined. This rule should be 
adopted in nearly all Shakespeare verse; we should 
then escape the horrible, even false emphasis, so 
usually adopted by our Shakespearian actors. 

^Touchstone is heard singing and laughing of L, 



40 



AS YOU LIKE IT 

Ros. I have more cause. 

Cel. Thou hast not, cousin^; 

Prithee, be cheerful: know'st thou not, the Duke 
Hath banish'd me, his daughter? 

Ros. That he hath not. 

CeL No! hath not?^ Rosalind lacks then 
the love 
Which teacheth thee that thou and I am one: 
Shall we be sunder'd ? shall we part, sweet girl? 
No^: let my father seek another heir. 
Therefore devise with me how we may fly, 
Whither to go and what to bear with us; 
For, by this heaven, now at our sorrows pale, 
Say what thou canst, I'll go along with thee. 

Ros.^ Why, whither shall we go? 

CeL To seek my uncle in the forest of Arden. 

Ros. Alas, what danger will it be to us, 
Maids as we are, to travel forth so far! 
Beauty provoketh thieves sooner than gold. 

(Note h.) 

Cel. I'll put myself in poor and mean attire 
And with a kind of umber smirch my face; 
The like do you; so shall we pass along 
And never stir assailants.^ 

Ros, (rises). Were it not better, 

41 



7 



'^The two women attendants should cross at 
hack of stage casually, then listen; They form a 
valuable pivot to the plot {see text) . 

^Takes the stage to L, (a) then L C. 

^Celia crosses to R C. 

^Crossing laughingly to Celia. 

^(b) Touchstone is still singing off L (pp). 

^(c) She crosses here and goes up steps. 

Note. — (a) The expression, '' taking the stage^^ 
which should be indulged in rarely, means cross- 
ing with much freedom. 

(b) Read the line as if but were 
omitted; then get the word Al-ee-an-a — Celia- 
Aliena. 

(c) Do not let Rosalind speak these 
lines; they are Celiacs. She is sacrificing her 
birthright for love of her cousin. Whatever you do 
donH indulge in the star system in school. 



42 



AS YOU LIKE IT 

Because that I am more than common tall, 
That^ I did suit me all points like a man? 
A gallant curtle-axe upon my thigh, ^ 
A boar-spear in my hand; and — in my heart 
Lie there what hidden woman's fear there will — ^ 
We'll have a swashing and a martial outside, 
As many other mannish cowards have 
That do outface it with their semblances. 

Cel. R C What shall I call thee when thou 
art a man? 

Ros, L C. I'll have no worse a name than 
Jove's own page; 
And therefore look you call me Ganymede.^ 
But what will you be call'd? 

Cel. Something that hath a reference to my 
state; 

No longer Celia, but Aliena^ 

Ros, But, cousin, what if we assay'd to steal 
The clownish Fool out of your father's court? 
Would he not be a comfort to our travel? 

Cel. He'll go along o'er the wide world with 
me; 
Leave me alone to woo him. Let's away, 
And get our jewels and our wealth together. 
Devise the fittest time and safest way^ 

43 



^On platform C. 

Note. — In open air plays these first scenes~are 
usually omitted. They can of course he given 
either on the same stage — or by moving the 
audience to a different part of the ground. This 
is a clumsy thing to do; audiences are good- 
natured j especially when their young friends — the 
actors — are doing their best. 

^If there is a change of scene this is the same cloth 
as used for scene I. It is easier for stage purposes; 
it brings the events closer together and does little 
violence to the text. It leaves the last four acts 
entirely in the forest. 

^Orlando comes on first and calls; Adam comes 
from cottage L I. 

^Matter in parenthesis optional. 



cT^. 




AS YOU LIKE IT 

To hide us from pursuit that will be made 
After my flight.-^ Now go we in content 
To liberty and not to banishment. 

[Exeunt C, 

Scene III.^ Before Oliver^ s house. Same 
as scene I. 

Enter Orlando^ and Adam, meeting, 

Orl. R. Who's there? 

Adam. L. What, my young master? 
my gentle master ! 
O my sweet master ! O you memory 
Of old Sir Rowland! why, what make you here? 
Your praise is come too swiftly home before you. 
Know you not, master, to some kind of men 
Their graces serve them but as enemies? 

Orl. R C. Why, what's the matter? 

Adam. L C. unhappy youth! 
Come not within these doors; within this roof 
The enemy of all your graces lives: 
Your brother — ^ (no, no brother; yet the son — 
Yet not the son, I will not call him son 
Of him I was about to call his father ) — 
Hath heard your praises, and this night he means 

45 



^Adam can have the satchel with the money as 
he is expecting Orlando and like all thoughtful 
people anticipates his action. 

'^Kneels, 



46 



AS YOU LIKE IT 

To burn the lodging where you use to lie 
And you within it; if he fail of that, 
He will have other means to cut you off. 
This is no place; this house is but a butchery: 
Abhor it, fear it, do not enter it. 

Orl. Why, whither, Adam, wouldst thou have 
me go? 

Adam. No matter whither, so you come 
not here. 

Orl. What, wouldst thou have me go and 
beg my food? 
Or with a base and boisterous sword enforce 
A thievish Hving on the common road? 
This I must do, or know not what to do : 
Yet this I will not do, do how I can; 
I rather will subject me to the malice 
Of a diverted blood and bloody brother. 

Adam, But do not so. I have five hundred 
crowns. 
The thrifty hire I sav'd under your father. 
Take that, and He that doth the ravens feed. 
Yea, providently caters for the sparrow. 
Be comfort to my age! Here is the gold^; 
All this I give you.^ Let me be your servant: 
Though I look old, yet I am strong and lusty; 

47 



"^Orlando lovingly lifts him up, if he lets him 
kneel at all, which is doubtful. 
{Special Notes on omitted lines.) 

(a) All the lines omitted can of course he 
spoken, hut these few strong words practically 
cover the meaning and we must not prolong our 
play hy beautiful word paintings. 

(b) The few lines of Adam can always be 
restored in a fairly complete representation and 
can he written into the prompt hook. Shakespeare 
himself played this part at Wilton, Salisbury, where 
the play was written, in 1599. The Pembroke 
family long possessed a letter describing some plays 
given at Wilton at this time with the words ^'the 
man Shakespeare is with us.^' Baconians read, 
mark, learn! 



48 



AS YOU LIKE IT 

For in my youth I never did apply 
Hot and rebellious liquors in my blood, 
Nor did not with unbashful forehead woo 
The means of weakness and debility; 
Therefore my age is as a lusty winter, 
Frosty, but kindly^; let me go with you; 
I'll do the service of a younger man 
In all your business and necessities. 

Orl. good old man, how well in thee appears 
The constant service of the antique world, 
When service sweat for duty, not for meed! 
Thou art not for the fashion of these times. 
Where none will sweat but for promotion. 
But come thy ways; we'll go along together, 
And ere we have thy youthful wages spent. 
We'll Hght upon some settled low content. 

Adam. Master, go on, and I will follow thee. 
To the last gasp, with truth and loyalty. 

{Exeunt. 



49 



Notes. — This scene can open with singing. 
The glee, ^^ Forester sound the cheerful hornj'^ is 
appropriate. There are many others. 



fcn' rancfeR.C. 



A beickcloth gr backaround j. < 



cf - trees. 



■{%-\r 



K.t. 



hi 



Tree 




Shrv) 



5hrvt)bery 



C£ Shrubbery 



E^trajiceL.> 



^^ RC 






St««l 



1V«o 



■■ncw^ n rv^^ir>„ 



'^^^ l/-\/-vl 



L.^ 






Mreic. 



Audience 

T/fe diagram gives the most convenient setting 
for these scenes, either on the boards or in the open 
air. In the Theatre the play can he divided into 
acts as written. In the Folio — the best author- 
ity — no scenes are indicated. 

Rustic stools or logs are about the stage. It is 
one of the meeting places of the Duke and his 
m£n. 



50 



ACT II 

Scene I. The forest of Arden. 

Enter Duke senior, Amiens and two or three 
Lords, like foresters. 

Duke S. Now, my co-mates and brothers 

in exile. 
Hath not old custom made this life more sweet 
Than that of painted pomp? Are not these 

woods 
More free from peril than the envious court? 
Here feel we but the penalty of Adam, 
The season's difference, as the icy fang 
And churlish chiding of the winter's wind. 
Which, when it bites and blows upon my body, 
Even till I shrink with cold, I smile and say 
This is no flattery: these are counsellors 
That feelingly persuade me what I am. 
Sweet are the uses of adversity, 
Which, like the toad, ugly and venomous, 

SI 



Musicians should be hidden in the open air 
either side of stage. 

For instrumental accompaniment the ^^ Pastoral 
Symphony '' is fine. Avoid, if possible, using 
ultra-modern or ragtime melodies. 

The Duke can be discovered C, Amiens L; 
Lord R; others are grouped, naturally, mostly in 
front of the Duke, so that he would not address his 
speech to the back cloth, or to any cattle or poultry 
that may be around in the wood — meadow, 
park or garden. This is a very important point 
in acting. Have your characters well and nat- 
urally placed. 

^Be careful not to give these words to any but 
Amiens or one of the Lords. It is not the 
Duke^s in the Folio, and the Folio rarely errs. 

^Pronounced Ja-quez. 

^Duke laughs and sits under tree R C. 

Note a. — Never allow Jaques to speak this 
speech. It came to be a custom with stars to do 
this either from economy, ignorance, or vanity. 
No self-respecting student or manager would stand 
for it nowadays. 



5^ 



AS YOU LIKE IT 

Wears yet a precious jewel in his head; 
And this our life exempt from public haunt 
Finds tongues in trees, books in the running 

brooks, 
Sermons in stones and good in every thing. 
Ami.^ I would not change it. Happy is your 

grace. 
That can translate the stubbornness of fortune 
Into so quiet and so sweet a style. 
Duke S. Come, shall we go and kill us 

venison? 
And yet it irks me the poor dappled fools, 
Being native burghers of this desert city. 
Should in their own confines with forked heads 
Have their round haunches gor'd. 
First Lord. Indeed, my lord, (a) 
The melancholy Jaques^ grieves at that. 
And, in that kind, swears you do more usurp 
Than doth your brother that hath banish'd you.^ 
To-day my Lord of Amiens and myself 
Did steal behind him as he lay along 
Under an oak whose antique root peeps out 
Upon the brook that brawls along this wood: 
To the which place a poor sequester'd stag, 
That from the hunter's aim had ta'en a hurt, 

53 



Note b. — The scanning of the lines where the 
name J agues appears differs so much that custom 
has agreed to call this character Ja-quez much as 
it calls our heroine Ros-a-lind (not ^^ Rosa-lined' '^, 



54 



AS YOU LIKE IT 

Did come to languish; and indeed, my lord, 
The wretched animal heav'd forth such groans 
That their discharge did stretch his leathern coat 
Almost to bursting, and the big round tears 
Cours'd one another down his innocent nose 
In piteous chase; and thus the hairy fool. 
Much marked of the melancholy Jaques, (b) 
Stood on the extremes t verge of the swift brook, 
Augmenting it with tears. 

Duke, S. But what said Jaques? 
Did he not moralize this spectacle? 

First Lord, O, yes, into a thousand similes. 
First, for his weeping into the needless stream; 
"Poor deer," quoth he, "thou mak'st a testa- 
ment 
As worldlings do, giving thy sum of more 
To that which had too much'': then, being 

there alone. 
Left and abandon'd of his velvet friends, 
" 'T is right:" quoth he, "thus misery doth part 
The flux of company": anon a careless herd, 
Full of pasture, jumps along by him 
And never stays to greet him; "Ay," quoth 

Jaques, 
"Sweep on, you fat and greasy citizens; 

55 



^All laugh. 

^Amiens generally speaks this line. 

^Rises. 

^They can go of singing the glee or part song 
or to music. 

^ After a slight pause music dying away. 

Touchstone appears as if keeping watch, beck- 
ons to Rosalind and Celia, who enter and lean on 
Touchstone, Rosalind R, T CjC L. Touchstone 
carries three good sized bundles L, varying col- 
oured serges. 

Note (a.) — The Folio says ^' merry ^\' it is 
a much better reading, especially for Touchstone^ s 
reply. 



s6 



AS YOU LIKE IT 

'T is just the fashion: wherefore do you look 
Upon that poor and broken bankrupt there?" 
Thus most invectively he pierceth through 
The body of the country, city, court, 
Yea, and of this our Hfe, swearing that we 
Are mere usurpers, tyrants and what's worse, 
To fright the animals and to kill them up 
In their assign'd and native dwelling-place.-^ 

Duke S. And did you leave him in this 
contemplation? 

Sec. Lord, L.^ We did, my lord, weeping and 
commenting 
Upon the sobbing deer. 

Duke S. R C.^ Show me the place: 
I love to cope him in these sullen fits. 
For then he's full of matter. 

First Lord. I'll bring you to him straight. 

[Exeunt up to C, then of R U.]^ 

Enter Rosalind as Ganymede,^ Celia as 
Aliena, and Touchstone L. 

Ros. Jupiter, how merry are my spirits! (a)^ 
Touch. I care not for my spirits, if my legs 

were not weary. {Drops bundles and helps 

Celia to log L.) 

57 



Wrops on the ground L of log L, 

^Goes behind tree L C 

Note. — In entrances the person who is speaking 
generally follows the person spoken to. I give you 
a few general rules in stage business; they can of 
course be varied or used at discretion: Let me 
impress upon young actors to use very little gesture; 
else when gesture action and expression are neces- 
sary ^ they are ineffective. It is also unnecessary 
to move often upon the stage; continual cross- 
ing, sitting J rising, or fidgetting do not impress. 

^Silvius is restless; Corin reasons with him. 
They go to log or seats j down R, 



SS' 



AS YOU LIKE IT 

Ros. I could find in my heart to disgrace 
my man's apparel and to cry like a woman; 
but I must comfort the weaker vessel, as doublet 
and hose ought to show itself courageous to 
petticoat: therefore courage, good Aliena! 

CeL I pray you, bear with me; I cannot go 
no further. 

Touch, {crosses to L). For my part, I had 
rather bear with you than bear you; yet I should 
bear no cross if I did bear you, for I think you 
have no money in your purse. [Celia carries the 
purse on girdle, 

Ros, Well, this is the forest of Arden. 

(X to R.) 

Touch, Ay, now am I in Arden; the more 
fool I; when I was at home, I was in a better 
place: but travellers must be content. 

Ros. Ay, be so, good Touchstone. 

Enter Corin^ and Silvius^ from R 2, 
Look you, who comes here; a young man and 
an old in solemn talk.^ 
Cor. That is the way to make her scorn you 

stiU.3 
Sil, Corin, that thou knew'st how I dc 
love her! 

59 



^Sits R, ; extreme R on log R. 
^Sits on log. 
^Rises, 

^Coming from behind tree, going across a little 
to C. 



60 



AS YOU LIKE IT 

Cor. I partly guess ; for I have lov^d ere now.^ 

Sil, No, Corin, being old, thou can'st not 
guess,^ 
But if thy love were ever like to mine — 
As sure I think did never man love so — 
How many actions most ridiculous 
Hast thou been drawn to by thy fantasy? 

Cor, Into a thousand that I have forgotten. 

Sil. 0, thou didst then ne'er love so heartily! 
If thou remember'st not the sHghtest folly 
That ever love did make thee run into, 
Thou hast not lov'd: 
Or if thou hast not sat as I do now. 
Wearying thy hearer in thy mistress' praise, 
Thou hast not lov'd: 
Or if thou hast not broke from company^ 
Abruptly, as my passion now makes me, 
Thou hast not lov'd. 

Phebe, Phebe, Phebe! 

[Exit ofR I. Corin looks after him pityingly. 
Ros.^ Alas, poor shepherd! searching of thy 
wound, 

1 have by hard adventure found mine own. 
Jove, Jove ! this shepherd's passion 

Is much upon my fashion. 

6i 



^Still taking it easily; he is sleepy. 

^Saluting (peasants are innately well mannered.) 



62 



AS YOU LIKE IT 

Touch} And mine; but it grows something 
stale with me. 

Cel, I pray you, one of you question yond 
man 
If he for gold will give us any food: 
I faint almost to death. 

Touch, {kneels L). Holla, you clown! 

Ros, C, Peace! Fool: he's not thy kinsman. 

Cor. {returning to R), Who calls? 

Touch. L. Your betters, sir. 

Cor. R. Else are they very wretched. 

Ros. C. Peace, I say. Good even to you, 
friend. 

Cor. R. And to you, gentle sir, and to you all.^ 

Ros. C. I prithee, shepherd, if that love or 
gold 
Can in this desert place buy entertainment, 
Bring us where we may rest ourselves and feed: 
Here 's a young maid with travel much oppress'd 
And faints for succour. 

Cor. Fair sir, I pity her 

And wish, for her sake more than for mine own. 
My fortunes were more able to relieve her; 
But I am shepherd to another man 
And do not shear the fleeces that I graze: 

63 



^Here the girls and Touchstone count the money 
in Celiacs satchel. 

^They Joyfully discover enough money to buy 
the cottage. 

^Touchstone stirs himself, begins to pack up. 

^Goes up to C. 

^Distant singing is heard and continues p.p. 
whilst Touchstone collects the bundles and goes after 
Corin. He piles them one by one on his back, 
then remembers the Princesses, and goes to log 
for Celia; she rises, sighs, leans on Touchstone. 

Rosalind sighs and also leans on Touchstone, 
for they love him very much; they all sigh joyfully 
and stroll of to their new-found home. As they dis- 
appear off R U, A miens sings louder and enters 
up L 3, followed by the others and eventuoMy by 
Jaques from up L. 



64 



AS YOU LIKE IT 

My master is of churlish disposition 
And little recks to find the way to heaven 
By doing deeds of hospitality: 
Besides, his cote, his flocks and bounds of feed 
Are now on sale,^ and at our sheepcote now, 
By reason of his absence, there is nothing 
That you will feed on; but what is, come see, 
And in my voice most welcome shall you be. 

Ros. C. What is he that shall buy his flock 
and pasture? 

Cor. R. That young swain that you saw here 
but erewhile, 
That Httle cares for buying any thing.^ 

Ros. C. I pray thee, if it stand with honesty, 
Buy thou the cottage, pasture and the flocks. 
And thou shalt have to pay for it of us. 

Cel. L C. And we will mend thy wages. 
I like this place, 
And wilHngly could waste my time in it.® 

Cor. Assuredly the thing is to be sold: 
Go with me^: if you like upon report 
The soil, the profit, and this kind of life, 
I will your very faithful feeder be 
And buy it with your gold right suddenly.^ 

\JS,%cuni R. 
65 



^There are several settings to this song. It is 
natural for Amiens to sing to his own lute. 

^Amiens wanders down R. J agues comes on 
LU. 

^Sits on log L C. 



66 



AS YOU LIKE IT 

Enter Amiens, Jaques, and others, 

SONG^ 

Ami. Under the greenwood tree 
Who loves to lie with me, 
And turn his merry note 
Unto the sweet bird's throat, 
Come hither, come hither, come hither^: 
Here shall he see 
No enemy 
But winter and rough weather. 

Jaq. More, more, I prithee, more. 

A mi. It will make you melancholy. Monsieur 
Jaques. 

Jaq, I thank it. More, I prithee, more. I 
can suck melancholy out of a song, as a weasel 
sucks eggs. More, I prithee, more. 

Ami, My voice is ragged, I know I cannot 
please you. 

Jaq. I do not desire you to please me; I 
do desire you to sing.^ Come, more; another 
stanzo: call you ^em stanzos? 

Ami. What you will. Monsieur Jaques. 

Jaq. Nay, I care not for their names; they 
owe me nothing. Will you sing? 

Ami. More at your request than to please 
myself. 

67 



^Jaques can show his musical taste by half 
dozing during this chorus. It gives a pretty effect 
for the chorus to be sung softer and softer; they see 
him asleep and gradually gather round and shout 
the last word in his ears, which wakes him up; 
they all laugh. 

"^Waking up. 

^Jaques can either sing it very much off the hey, 
or he can speak it in a somewhat mock ^^ elocu- 
tionary^^ style. It is intended to be humorous. 



68 



AS YOU LIKE IT 

Jaq. Well then, if ever I thank any man, 
I'll thank you. Come, sing; and you that will 
not, hold your tongues. 

Ami. Well, I'll end the song. Sirs, cover 
the while; the Duke will drink under this tree. 
He hath been all this day to look you. 

Jaq, And I have been all this day to avoid 
him. He is too disputable for my company: 
I think of as many matters as he, but I give 
Heaven thanks and make no boast of them. 
Come, warble, come. 

Song 

Who doth ambition shun 

And loves to live i' th' sun, 

Seeking the food he eats 

And pleas'd with what he gets, 
Come hither, come hither, come hither^: 

Here shall he see 

No enemy 
But winter and rough weather. [All together here. 

Jaq.'^ I'll give you a verse to this note that 
I made yesterday in despite of my invention. 
Ami. And I'll sing it. 
Jaq. Thus it goes:^ 

If it do come to pass 
That any man turn ass, 

69 



"^He beckons, they gather around, they all laugh 
and disperse. He rises and goes of still half 
asleep. They go of singing, laughing, or if 
played with change of scene to prepare a repast. 

Note. — Gallons of ink have been used upon the 
character of Jaques. He is a delightful fellow, 
posing as cynic. Whatever he may have been 
at court, he is not a dandy now. As a mild sug- 
gestion I would suggest he looks clean, but with 
untidy clothes. If he lives nowadays, he will prob- 
ably go to a dinner party or pose in the front row 
of a playhouse, in a red necktie. No real cynic 
would follow his master into exile, and probably 
spend his last crown in his service. 

In theatre a front landscape cloth. In open air 
they come on after short pause. 

'^ After slight pause. '^T^ 

^Hejust drops out of Orlando^ s arms from sheer 
weariness. 

^Kneels to him. 

^Rises. 

^Adam smiles. 

'^Goes of a little to R, 



AS YOU LIKE IT 

Leaving his wealth and ease 

A stubborn will to please, 
Ducdame, ducdame, ducdame: 

Here shall he see 

Gross fools as he 
An if he will come to me. 

Ami, What's that "ducdame '7 
Jaq. 'T is a Greek invocation/ to call fools 
into a circle. I'll go sleep, if I can; if I cannot, 
I'll rail against all the first-born of Egypt. 

Ami. And I'll go seek the Duke: his banquet 
is prepared. [Exeunt severally R and L. 

Enter Orlando and Adam from L U or LP- 

Adam. Dear master, I can go no further: 
0, 1 die for food ! ^ Here He I down, and measure 
out my grave. Farewell, kind master. 

Orl. Why, how now, Adam! no greater 
heart in thee?^ Live a Httle; comfort a Httle; 
cheer thyself a little. For my sake be com- 
fortable; hold death awhile at the arm's end; 
I will here be with thee presently^; and if I 
bring thee not something to eat, I will give thee 
leave to die: but if thou diest before I come, 
thou art a mocker of my labour.^ Well said! thou 
look 'st cheer ly, and I'll be with thee quickly.^ 

V- 



^Returns. 

Hf possible Orlando should take Adam in his 
arms like a little child and carry him of R. 



Adam 




In theatre all are discovered seated around a table 
at R C. If open air they enter up R. Brown 
bread, fruit, wine and light food on table. It is 
lunch time. 

This group can be regulated by numbers. The 
Duke, the Lords, and Amiens would sit R C; 
others around stage R and L. 

^laques roars with laughter. Jaques can go 
over to table and help serve Duke; or he can " pose^' 
in the centre. 



72 



AS YOU LIKE IT 

Yet thou liest in the bleak air^; come, I will 
bear thee to some shelter; and thou shalt not die 
for lack of a dinner, if there live anything in this 
desert.^ Cheerly, good Adam! [Exeunt. 

A table set out. Enter Duke senior, Amiens, 
and Lords, like outlaws. 

Duke S. I think he be transformed into a 
beast; 
For I can no where find him like a man. 
First Lord. My lord, he is but even now gone 
hence: 
Here was he merry, hearing of a song. 
Go, seek him: tell him I would speak with him. 

Enter Jaques from up L. 

First Lord. He saves my labour by his own 

approach. 
Duke S. Why, how now, monsieur! what a 
life is this. 
That your poor friends must woo your company? 
What, you look merrily! 

Jaq. C. A Fool, a Fool! I met a Fool i' 
th' forest, 
A motley Fool; — a miserable world! 

73 



^Ee secures an apple anyway , as his share of the 
luncheon. 
With apple, 
^He still laughs. 
^He takes the stage to right {or left). 



74 



AS YOU LIKE IT 

As I do live by food, I met a Fool; 

Who laid him down and bask'd him in the 

sun, 
And raird on Lady Fortune in good terms. 
In good set terms, and yet a motley Fool. 
''Good morrow, Fool," quoth I. "No, sir," 

quoth he 
"Call me not fool till heaven hath sent me 

fortune.^ 
And then he drew a dial from his poke. 
And, looking on it with lack-lustre eye, 
Says very wisely, "It is ten o'clock: 
Thus we may see," quoth he, "how the world 

wags: 
'T is but an hour ago since it was nine. 
And after one hour more 't will be eleven; 
And so, from hour to hour, we ripe and ripe,^ 
And then, from hour to hour, we rot and rot; 
And thereby hangs a tale." When I did hear 
The motley Fool thus moral on the time, 
My lungs began to crow Hke chanticleer, 
That fools should be so deep-contemplative, 
And I did laugh sans intermission^ 
An hour by his dial. O noble Fool! 
A worthy Fool! Motley's the only wear."* 

75 



i 



M general movement of defence among the 
Foresters. Spears, swords, daggers, knives, should 
he got ready; the Duke does not move, 

^Jaques is getting hungry, 

^Still seated. 



76 



AS YOU LIKE IT 

Enter Orlando, with his sword drawn, from up L. 

OrL Forbear, and eat no more.^ 
Jaq. R. Why, I have eat none yet. 
OrL C. Nor shalt not, till necessity be serv'd. 
Duke S. R C. Art thou thus bolden'd, man, 
by thy distress. 
Or else a rude despiser of good manners, 
That in civihty thou seem'st so empty? 
Orl. C, You touch'd my vein at first: the 
thorny point 
Of bare distress hath ta'en from me the show 
Of smooth civility: yet am I inland bred 
And know some nurture.^ But forbear, I say: 
He dies that touches any of this fruit 
Till I and my affairs are answered. 
Duke S.^ R C. What would you have? Your 
gentleness shall force 
More than your force move us to gentleness. 
Orl. I almost die for food; and let me have it. 
Duke S. Sit down and feed, and welcome to 

our table. 
OrL Speak you so gently? Pardon me, I 
pray you: 
I thought that all things had been savage here; 

77 



4 



^TMs speech makes a profound impression on 
all. 

^Duke here rises and invites Orlando to sit. 



78 



AS YOU LIKE IT 

And therefore put I on the countenance 

Of stern commandment. But whate'er you are 

That in this desert inaccessible. 

Under the shade of melancholy boughs, 

Lose and neglect the creeping hours of time; 

If ever you have look'd on better days, 

If ever been where bells have knoll'd to church. 

If ever sat at any good man's feast, 

If ever from your eyelids wip'd a tear 

And know what 't is to pity and be pitied, 

Let gentleness my strong enforcement be: 

In the which hope I blush, and hide my sword. ^ 

Duke S. True is it that we have seen better 
days, 
And have with holy bell been knoU'd to church. 
And sat at good men's feasts, and wip'd our eyes 
Of drops that sacred pity hath engender'd^: 
And therefore sit you down in gentleness 
And take upon command what help we have 
That to your wanting may be minister'd. 

Orl. C. Then but forbear your food a little 
while. 
Whiles, Hke a doe, I go to find my fawn 
And give it food. There is an old poor man. 
Who after me hath many a weary step 

7y 



^Kisses Duke's hand. 

^All are deeply concerned. 

^He goes of joyfully R, slight pause, whilst 
the people go up quietly to look after Orlando. 
Jaques goes from L then gets down right. 

^Jaques can either remain seated by the Duke 
at the table, or he can quite as well go over to the 
log L C, and gradually enters into his speech. For 
pity^s sake don't use much action; the acts explain 
themselves. 

Note. — It is important that in a scene like 
this all on the stage should appear interested. All 
drop any idea of eating and help the general effect. 
But no individual shotdd appear aggressive. The 
Duke gives the keynote. 



80 



AS YOU LIKE IT 

Limp'd in pure love: till he be first sufficed, 
Oppress'd with two weak evils, age and hunger, 
I will not touch a bit. 

Duke SRC. Go find him out, 
And we will nothing waste till you return. 

Orl. I thank ye,^ and be blest for your good 
comfort?^ [Exit.^ 

Duke S. Thou seest we are not all alone 
unhappy; 
This wide and universal theatre 
Presents more woeful pageants than the scene 
Wherein we play in. 

Jaq.^ All the world's a stage 
And all the men and women merely players: 
They have their exits and their entrances; 
And one man in his time plays many parts, 
His acts being seven ages. At first the infant. 
Mewling and puking in the nurse's arms. 
And then the whining school-boy, with his 

satchel 
And shining morning face, creeping like snail 
Unwillingly to school. And then the lover. 
Sighing like furnace, with a woeful ballad 
Made to his mistress' eyebrow. Then a soldier 
Full of strange oaths and bearded Hke the pard, 

8i 



'^Please donH emphasize "/j^." 

^Slight pause. ^^7^ 

Then Adam and Orlando come on from up L. 
The men take Adam and lead him round in front 
of Duke and table, to a seat R of table marked X. 
The Duke takes Orlando, sits with him at the 
upper side R C, Orlando nearest to audience, 
probably with his back to it. 

Hs led to table down R. 



I 
I 

1 

4 



82 



AS YOU LIKE IT 

Jealous in honour, sudden and quick in quarrel, 

Seeking the bubble reputation 

Even in the cannon's mouth. And then the 

justice 
In fair round belly with good capon lin'd. 
With eyes severe and beard of formal cut, 
Full of wise saws and modern instances; 
And so he plays his part.^ The sixth age shifts 
Into the lean and slippered pantaloon, 
With spectacles on nose and pouch on side, 
His youthful hose, well sav'd, a world too wide 
For his shrunk shank; and his big manly voice, 
Turning again toward childish treble, pipes 
And whistles in his sound. Last scene of all, 
That ends this strange eventful history, 
Is second childishness and mere oblivion, 
Sans teeth, sans eyes, sans taste, sans every 
thing.2 ^T^ 
Re-enter Orlando with Adam, from L U, 

Duke S, Welcome. (Rises.) Set down your 
venerable burthen, 
And let him feed. 

OrL R C, I thank you most for him. 

Adam. So had you need: 
I scarce can speak to thank you for myself.^ 

83 



^Amiens stands near Duke and sings, 
N. B. — Avoid being '^ operatic'' I 
This song has a jolly chorus; all sing, 
^They rise and come down, Duke C, Orlando 
L C. 



84 



.ji 



AS YOU LIKE IT 

Duke S, Welcome; fall to: I will not trouble 
you 
As yet, to question you about your fortunes. 
Give us some music; and good cousin, sing.^ 

Song 

Ami Blow, blow, thou winter wind, 
Thou art not so unkind 
As man's ingratitude; 
Thy tooth is not so keen, 
Because thou art not seen, 
Although thy breath be rude. 
Heigh-ho! sing, heigh-ho! unto the green holly: 
Most friendship is feigning, most loving mere folly: 
Then, heigh-ho, the holly! 
This life is most jolly. 

Freeze, freeze, thou bitter sky, 
That dost not bite so nigh 

As benefits forgot: 
Though thou the waters warp, 
Thy sting is not so sharp 

As friend remember'd not 
Heigh-ho! sing, etc. 

Duke S.^ If that you were the good Sir 
Rowland's son, 
As you have whisper'd faithfully you were, 
Be truly welcome hither: I am the Duke 



'^Orlando surprised, kneels. 

^Adam also tries to kneel. 

^ First Lord takes Adam. They go of up L. 
If a curtain falls, a picture is formed. Jaques 
is still asleep. 

{An Interval or end of Act.) 

Note. — There may be a short interval or pause 
in either theatre or open air. It is an advantage 
to play these forest scenes rather rapidly; the action 
is quick. If in theatre the lights should be a little 
checked as if it was very early morning, six o^ clock 
possibly. In Shakespeare^ s day we awoke earlier 
and slept earlier. 

Orlando can be discovered if in the theatre lying 
on the logLC, finishing his verse. He then hangs 
it on the trees. 

Note. — Music of a^^ Pastoral ' ' nature, 

^The moon. 

^A slight pause before the she. {In the Folio 
she is spelt with two ^'ee^s.^'I) 

^Touchstone goes across to C; he evidently knows 
all about these love affairs and he sees Orlando 
disappearing. 

'^He goes to log R and sits. 



86' 



AS YOU LIKE IT 

That lov'd your father^ : the residue of your for- 
tune, 
Go to my cave and tell me. Good old man, 
Thou art right welcome as thy master is.^ 
Support him by the arm. Give me your hand, 
And let me all your fortunes understand. [Exeunt. ^ -n- 

Enter Orlando, with a paper. 

Orl. Hang there, my verse, in witness of 

my love: 
And thou, thrice-crowned queen of night,^ 
survey 
With thy chaste eye, from thy pale sphere above. 
Thy huntress' name that my full life doth 
sway. 
O Rosalind! these trees shall be my books, 

And in their barks my thoughts I'll character; 
That every eye which in this forest looks 

Shall see thy virtue witness 'd every where. 
Run, run, Orlando; carve on every tree 
The fair, the chaste and unexpressive^ she. [Exit. 

Enter Corin (2) and Touchstone (i) up L^ 

Cor? And how like you this shepherd's life, 
Master Touchstone? 

87 



^Touchstone lies on the green sward R C. 



88 



AS YOU LIKE IT 

Touch. C. Truly, shepherd, in respect of it- 
self, it is a good life; but in respect that it is a 
shepherd's Hfe, it is naught. Now, in respect it 
is in the fields, it pleaseth me well; but in respect 
it is not in the court, it is tedious. Hast^ any 
philosophy in thee, shepherd? 

Cor. R. No more but that I know the more 
one sickens the worse at ease he is; and that he 
that wants money, means and content is with- 
out three good friends; that the property of 
rain is to wet and fire to burn; that good pasture 
makes fat sheep, and that a great cause of 
the night is lack of the sun; that he that hath 
learned no wit by nature nor art may complain 
of good breeding or comes of a very dull 
kindred. 

Touch. Such a one is a natural philosopher. 
Wast ever in court, shepherd? 

Cor. No, truly. 

Touch. Then thou art damn'd. 

Cor. Nay, I hope. 

Touch. Truly, thou art damned, like an ill- 
roasted egg all on one side. 

Cor. For not being at court? Your reason. 

Touch. Why, if thou never wast at court, 

89 



"^This beautiful speech can he spoken in full. 

Note — The pronunciation of this name must he 
left to individual discretion. Dr.H.H.Furness, 
our greatest living authority, approves of ^^Rozza- 
lind^^ from English custom, although the verse 
rather inclines toward Rosa-lined. 

^Rosalind should enter with one or two papers. 
The sonnets hang on the trees as thick as herries. 

Note. — In this couplet the rhymes are equal. 

Ind rhymes with lind. 

Wind rhymes with lined. 

Linde, lin^d or limned with lind. 

Mind rhymes with lined. 
So that the play of words is upon the last syllable. 

^Coming forward with one of the sonnets which 
he steals from one of the trees unseen by Rosalind. 



90 



AS YOU LIKE IT 

thou never saw'st good manners; if thou never 
saw'st good manners, then thy manners must 
be wicked; and wickedness is sin, and sin is 
damnation. Thou art in a parlous state, shep- 
herd. 

Cor.^ Sir, I am a true labourer: I earn that I 
eat, get that I wear, owe no man hate, envy no 
man's happiness. Here comes young Master 
Ganymede, my new mistress's brother. (They 
rise and go behind tree R.) 

Enter Rosalind^ from L Z7, with a paper, reading. 

Ros. From the east to western Ind, 
No jewel is like Rosalind. 
Her worth, being mounted on the wind, 
Through all the world bears Rosalind, 
All the pictures fairest lin'd 
Are but black to Rosalind. 
Let no fair be kept in mind 
But the fair of Rosalind. 

Touch} I'll rhyme you so eight years to- 
gether, dinners and suppers and sleeping-hours 
excepted: it is the right butter- women's rank 
to market. 

Ros. Out, Fool! 

91 



^Comes down C. Rosalind gets behind tree 
L C. Touchstone is R C with Covin. 

Note. — In this couplet only one line. Kind 
rhymes with lind, so that we have little to guide 
us except custom, which if only for sweetness of 
sound is sometimes adopted. 



92 



AS YOU LIKE IT 

Touch, For a taste : 
If a hart do lack a hind, 
Let him seek out Rosalind. 
If the cat will after kind, 
So be sure will Rosalind. 
Sweetest nut hath sourest rind, 
Such a nut is Rosalind. 
This is the very false gallop of verses: why do 
you infect yourself with them? 

Ros. C. Peace, you dull Fool! I found them 
on a tree. 

Touch. R C. Truly, the tree yields bad fruit. 

Enter Celia, with a writings from up L, 

Ros. Peace i 
Here comes my sister, reading; stand aside. 

Cel.^ [Reads.] Why should this a desert be? 

For it is unpeopled? No; 
Tongues I'll hang on every tree, 

That shall civil saying show: 
But upon the fairest boughs, 

Or at every sentence end, 
Will I Rosalinda write, 

Teaching all that read to know 
The quintessence of every sprite 

Heaven would in little show. 

93 



^She gives a significant sigh, 

^Rosalind covers Celiacs eyeSy then they both 
laugh. Touchstone comes to R C as if to join in 
the family conference. 

^Touchstone motions Corin to go of. 

^Touchstone realizes he has to go. So he makes 
a virtue of necessity ^ hut he flourishes the sonnet 
as he goes off dancing, with the old shepherd. 



94 



AS YOU LIKE IT 

Helen's cheek, but not her heart, 

Cleopatra's majesty, 
Atalanta's better part, 

Sad Lucretia's modesty. 
Thus Rosalind^ of many parts 

By heavenly synod was devis'd, 
Of many faces, eyes and hearts, 

To have the touches dearest priz'd. 
Heaven would that she these gifts should have, 
And I to live and die her slave. 

Ros.^ O most gentle Jupiter! what tedious 
homily of love have you wearied your parishion- 
ers withal, and never cri'd, Have patience, good 
people ! 

Cel. How now! back, friends! Shepherd, 
go off a little.* Go with him, sirrah. 

Touch. Come, shepherd,^ let us make an 
honourable retreat, though not with bag an 
baggage, yet with scrip and scrippage. 

[Exeunt Covin and Touchstone R j. 

Cel. R C. Didst thou hear these verses? 

Ros. L C. O, yes, I heard them all, and more 
too; for look here what I found on a palm tree. 

Cel. Trow you who hath done this? 

Ros. Is it man? 

Cel. And a chain, that you once wore, about 
his neck. Change you colour? 

95 



^Getting impatient. 
^Catching hold of Celia. 
^Crossing to R C. 
^Crossing to L C. 
^Coaxing her. 



96 



AS YOU LIKE IT 

Ros. I prithee, who? 

Cel. O Lord, Lord! it is a hard matter for 
friends to meet; but mountains may be remov'd 
with earthquakes and so encounter. 

Ros} Nay, but who is it? 

Cel. Is it possible? 

Ros, Nay, I prithee now with most peti- 
tionary vehemence,^ tell me who it is. 

Cel.^ O wonderful, wonderful, and most 
wonderful wonderful! and yet again wonderful, 
and after that, out of all whooping! 

Ros. Good, my complexion!^ Dost thou 
think, though I am caparision'd like a man, I 
have a doublet and hose in my disposition?^ 
Is he of God's making? What manner of man? 
Is his head worth a hat, or his chin worth a 
beard? 

Cel. R. Nay, he hath but a little beard. 

Ros. L. Why, God will send more, if the 
man will be thankful : let me stay the growth of 
his beard, if thou delay me not the knowledge 
of his chin. 

Cel. R C. It is young Orlando, that tripp'd 
up the wrestler's heels and your heart both in 
an instant. 

97 



"^This business must he very carefully done. 
Rosalind tends her knees and quietly tries to 
pull her short skirt over her legs. Then the girls 
laugh. 

^As quick as it is possible to speak. 

^Gasping. 

^Crosses to L C, pointing to tree R, 

^Crosses to R C. 



98 



AS YOU LIKE IT 

Ros. L C. Nay, but the Devil take mocking: 
speak, sad brow and true maid. 

Cel. T faith, coz, 't is he. 

Ros. Orlando? 

CeL Orlando. 

Ros} Alas the day! what shall I do with 
my doublet and hose? What did he when thou 
saw'st him?2 What said he?^ How look'd he?^ 
Wherein went he? What makes he here?^ Did 
he ask for me?^ Where remains he?^ How 
parted he with thee?^ and when shalt thou see 
him again?^ Answer me in one word. 

Cel} You must borrow me Gargantua's mouth 
first: 't is a word too great for any mouth of this 
age's size. 

Ros. R C. But doth he know that I am in 
this forest and in man's apparel? Looks he as 
freshly as he did the day he wrestled? 

Cel. L C. It is as easy to count atomies- as 
to resolve the propositions of a lover; but take 
a taste of my finding him, and relish it with 
good observance.* I found him under a tree, 
Hke a dropp'd acron. 

Ros. It may well be called Jove's tree, when 
it drops forth such fruit.^ 

99 



^Curtseying apologetically, 

^Catching hold of Celia sweetly. 

^Kissing her, Orlando and Jaques talking out- 
side. 

^The girls go up, Rosalind putting Celia'' s skirt 
in front of her knees. 

Rosalind and Celia watch this scene from behind 
trees or hushes up R. 



lOO 



AS YOU LIKE IT 

Cel.^ Give me audience, good madam. 

Ros. R C. Proceed. 

Cel, L C. There lay he, stretched along, like 
a wounded knight. 

Ros. R. Though it be pity to see such a 
sight, it well becomes the ground. 

CeL L. He was furnished like a hunter. 

Ros, 0, ominous! he comes to kill my heart. 

Cel. R C. I would sing my song without a 
burden: thou bring'st me out of tune. 

Ros.^ Do you not know I am a woman? 
when I think, I must speak.^ Sweet, say on. 

CeL You bring me out. Soft! comes he not 
here? 

Enter Orlando (2) and ]aqves(i) from L. 

Ros. 'T is he: slink by, and note him."* 

Jaq. I thank you for your company; but 
good faith, I had as lief have been myself alone. 

OrL L. And so had I; but yet, for fashion 
sake, I thank you too for your society. 

Jaq. R. God b' wi' you; let's meet as little 
as we can. 

Orl. L. I do desire we may be better 
strangers. 

lOI 



^Orlando is carving Rosalind on a piece of a 
branch in his hands. 

^Jaques peeps at the carving. 

^Ee sits R. 

^Puts branch on his heart and sighs. Rosalind 
smiles from behind tree. 



I02 



AS YOU LIKE IT 

Jaq. C. I pray you, mar no more trees 
with writing love-songs in their barks. 

Orl} I pray you, mar no more of my verses 
with reading them ill-favouredly. 

Jaq.^ RosaHnd is your love's name? 

Orl. Yes, just. 

Jaq.^ I do not like her name. 

OrL There was no thought of pleasing you 
when she was christen'd. 

Jaq. What stature is she of? 

Orl.^ Just as high as my heart. 

Jaq. R. You are full of pretty answers. Will 
you sit down with me? and we two will rail 
against our mistress the world and all our 
misery. 

Orl. C. I will chide no breather in the world 
but myself, against whom I know most faults. 

Jaq. R. The worst fault you have is to be 
in love. 

OrL 'T is a fault I will not change for your 
best virtue. I am weary of you. 

Jaq. By my troth, I was seeking for a fool 
when I found you. 

Orl. He is drown'd in the brook: look but in, 
and you shall see him. 

103 



^Rises, 

^As Jaques goes off Orlando laughs and goes off 
L. 
Wp R. 

^Comes down, then takes fright. 
^Forester should he said loudly. 
^A slight hut only momentary start from Orlando. 



104 



AS YOU LIKE IT 

Jaq. R. There I shall see mine own figure. 

Orl. Which I take to be either a fool or a 
cipher. 

Jaq} I'll tarry no longer with you : farewell, 
good Signior Love. 

Orl. I am glad of your departure;^ adieu, 
good Monsieur Melancholy. {Exit J agues R i, 

Ros.^ [Aside to Celia.] I will speak to him 
like a saucy lackey and under that habit play 
the knave with him."* Do you hear, forester?^ 

Orl.^ Very well: what would you? (return- 
ing L.) 

Ros, I pray you, what is 't o'clock? 

Orl. You should ask me what time o' day: 
there 's no clock in the forest. 

Ros. Then there is no true lover in the forest; 
else sighing every minute and groaning every 
hour would detect the lazy foot of Time as well 
as a clock. 

Orl. L. And why not the swift foot of Time? 
had not that been as proper? 

Ros. C. By no means, sir; Time travels in di- 
vers paces with divers persons. I'll tell you who 
Time ambles withal, who Time trots withal, who 
Time gallops withal and who he stands still withal. 



^Sits on log L C; Celia gathers wild flowers 
up R, 

^Pronounced "senniteJ^ 

^Rosalind takes the stage to R during these 
speeches. 

^Creeping up to him. 

^Celia comes down from R U; Orlando raises 
cap, Celia R C, Ros. C, Orlando L, 



io6 



AS YOU LIKE IT 

Orl.^ I prithee, who doth he trot withal? 

Ros. Marry, he trots hard with a young maid 
between the contract of her marriage and the 
day it is solemniz'd; if the interim be but a 
se'nnight,^ Time's pace is so hard that it seems 
the length of seven year. 

OrL Who ambles Time withal? 

Ros.^ With a priest that lacks Latin and a 
rich man that hath not the gout, for the one 
sleeps easily because he cannot study, and the 
other lives merrily because he feels no pain. 

OrL Who doth he gallop withal? 

Ros.^ With a thief to the gallows; for though 
he go as softly as foot can fall, he thinks himself 
too soon there. 

OrL Who stays it still withal? 

Ros. With lawyers in the vacation; for they 
sleep between term and term, and then they 
perceived not how Time move§. 

OrL C. Where dwell you, pretty youth? 

Ros. C. With this shepherdess, my sister^; 
here in the skirts of the forest, Uke fringe upon 
a petticoat. 

OrL L. Your accent is something finer than 
you could purchase in so remov'd a dwelling. 

107 



^Rosalind, sitting, is puzzled what to say. Celia 
whispers to tell her she had an uncle once who 
possibly was a Bishop. 

^Taking stage R; Celia, laughing at the fun, goes 
quickly of for bluebells. 

^She also peeps at wood which Orlando carves 
at interval. 



io8 



AS YOU LIKE IT 

Ros. C. I have been told so of many^: 
but indeed an old religious uncle of mine taught 
me to speak, who was in his youth an inland 
man; one that knew courtship too well, for there 
he fell in love. I have heard him read many 
lectures against it, and I thank God I am not a 
woman,^ to be touch' d with so many giddy 
offences as he hath generally tax'd their whole 
sex withal. 

Orl. Can you remember any of the principal 
evils laid to the charge of women? 

Ros. C. There were none principal; they were 
all like one another as half-pence are, every one 
fault seeming monstrous till his fellow-fault 
came to match it. 

Orl. I prithee, recount some of them. 

Ros. C. No, I will not cast away my physic 
but on those that are sick. There is a man 
haunts the forest, that abuses our young plants 
with carving Rosalind^ on their barks; hangs 
odes upon hawthorns and elegies on brambles, 
all, forsooth, deifying the name of Rosalind: 
if I could meet that fancy-monger, I would give 
him some good counsel, for he seems to have the 
quotidian of love upon him. 

109 



^Rises, rather interested; otherwise Orlando treats 
Rosalind very casually. He thinks he is a rather 
^' fresh' ^ youth. 

^Rosalind looks him up and down, 

^Goes very close to see the beginnings of heard, 

^Looks him well over, 

^Takes stage R, 



no 



AS YOU LIKE IT 

Orl.^ I am he that is so love-shak'd : I pray 
you, tell me your remedy. 

Ros.^ There is none of my uncle's marks 
upon you: he taught me how to know a man in 
love; in which cage of rushes I am sure you are 
not prisoner. 

Orl. What were his marks? 

Ros. C, A lean cheek, which you have not; 
a blue eye and sunken, which you have not; 
an unquestionable spirit, which you have not^; 
a beard neglected, which you have not; but I 
pardon you for that, for simply your having 
in beard is a younger brother's revenue^: then 
your hose should be ungarter'd, your bonnet 
unhanded, your sleeve unbutton'd, your shoe 
unti'd and every thing about you demonstrating 
a careless desolation; but you are no such man; 
you are rather point-device in your accoutre- 
ments, as loving yourself than seeming the 
lover of any other. 

Orl, L C Fair youth, I would I could make 
thee believe I love. 

Ros. C. Me believe it! you may as soon make 
her that you love believe it^; which I warrant 
she is apter to do than to confess she does: that 

III 



^Coming again. 

^Crosses to R C. 

^Big sigh; but of concealed joy. It attracts Or- 
lando^ s attention. The speech is given very freely 
by Rosalind. 

^Softening. 

^She gets rather close to him, as if having a 
big boy^s joke. All this scene is done with more 
action and gesture than all the rest of the part put 
together. 



112 



AS YOU LIKE IT 

is one of the points in the which women still 
give the lie to their consciences.^ But, in good 
sooth, are you he that hangs the verses on the 
trees, wherein Rosalind is so admired? 

Orl. LCI swear to thee, youth, by the 
white hand of Rosalind, I am that he, that un- 
fortunate he. 

Ros. C. But are you so much in love as your 
rhymes speak? 

Orl. L C. Neither rhyme nor reason can ex- 
press how much.^ 

Ros.^ C. Love is merely a madness, and, I 
tell you, deserves as well a dark house and a 
whip as madmen do; and the reason why they 
are not so punish'd and cured is, that the lunacy 
is so ordinary that the whippers are in love too.^ 
Yet I profess curing it by counsel. 

Orl. Did you ever cure any so? 

Ros. C. Yes, one; and in this manner.^ 
He was to imagine me his love, his mistress; and 
I set him every day to woo me: at which time 
would I, being but a moonish youth, be effemi- 
nate, changeable, longing and Hking, proud, 
fantastical, apish, shallow, inconstant, full of 
tears, full of smiles, for every passion something 

"3 



^Orlando goes to him — then, 

^Then runs away. 

^Big sigh of depreciation from Orlando. Ifs 
too much for him. 

^At ^'heart^^ Ganymede claps his hands. 

^Looks at him, then shakes head; Celia returns 
up R. 

^Hesitating, then making up his mind. 

''Celia goes off i?3. Holds out left hand, Or- 
lando puts his right hand into it with a bang. 

^Rosalind coaxingly puts Orlando^ s arm round 
her waist. Orlando repeats ^^ Rosalind.''* He 
affirms it with Rosalind, and they go off laughing. 



114 



AS YOU LIKE IT 

and for no passion truly any thing, as boys and 
women are for the most part cattle of this colour; 
would now like him, now loathe him; then enter- 
tain him, then forswear him^; how weep for him^; 
then spit at him; that I drave my suitor from his 
mad humour of love to a living humour of mad- 
ness; which was, to forswear the full stream of 
the world and to Hve in a nook merely monastic.^ 
And thus I cur'd him; and this way will I take 
upon me to wash your liver as clean as a sound 
sheep's heart,^ that there shall not be one spot 
of love in 't, 

Orl} LCI would not be cured, youth. 

Ros. C. I would cure you, if you would but 
call me Rosalind, and come every day to my 
cote and woo me. 

Orl.^ L C. Now, by the faith of my love, 
I will: tell me where it is. 

Ros, Go with me to it and I'll show it you: 
will you go sister?^ and by the way you shall 
tell me where in the forest you live. Will 
you go?^ 

Orl. With all my heart, good youth. 

Ros. Nay, you must call me Rosalind. 
Come, sister, will you go? [Exeunt, 

IIS 



^They dance on to C. 

^Audrey here munches an apple. 

^ After each of her speeches Audrey tries to 
munch the apple; each time Touchstone puts up 
Hiz palm of his hand between to prevent her, 

^Here they struggle for the apple which Touch- 
stone secures. Places in pouch. 



Ji6 



AS YOU LIKE IT 

Enter Touchstone and Audrey from L2 or-^} 

Touch. R C. Come apace, good Audrey: 
I will fetch up your goats, Audrey. And how, 
Audrey? am I the man yet? doth my simple 
feature content you? 

Aud. L C. Your features! Lord warrant 
us! what features? 

Touch. R C. 1 am here with thee and thy 
goats, as the most capricious poet, honest Ovid, 
was among the Goths.^ Truly, I would the 
gods had made thee poetical. 

Aud. L C. I do not know what poetical is: 
is it honest in deed and word? is it a true thing ?^ 

Touch. No, truly; for the truest poetry is 
the most feigning; and lovers are given to 
poetry, and what they swear in poetry may be 
said as lovers they do feign. 

Aud. Do you wish then that the gods had 
made me poetical? 

Touch. I do, truly; for thou swear'st to me 
thou art honest: now, if thou wert a poet, I 
might have some hope thou didst feign. 

Aud. Would you not have me honest? 

Touch. No, truly,^ unless thou wert hard- 

117 



'^Note {a). — The word ^^sluV^ in English is 
merely a person who is not fond of soap and water 
— Shakespeare so meant it — Audrey should not 
he at all a dirty-looking person. She should he 
attractive hut very rustic. Let her munch an apple 
or hread; — hut not a turnip. 

^Audrey jumps with joy. 

^She executes a war dance around the Clown; 
eventually, at his forhidding finger, drops penitent 
onto the log L C. 

^They sing and dance off up L. 

Note. — The scene with Martext can he easily 
given, Jaques also appearing, hut there is no 
value in it and we have got so Jar on in our play 
that it is unnecessary to introduce such char- 
acters however humorous they may he. 



ii8 



AS YOU LIKE IT 

favoured; for honesty coupled to beauty is to 
have honey a sauce to sugar. 

Aud. Well, I am not fair; and therefore I 
pray the gods make me honest. 

Touch. Truly, and to cast away honesty 
upon a foul slut^ were to put good meat into 
an unclean dish. (She turns away.) 

But, be it as it may be, I will marry thee,^ and 
to that end I have been with Sir Oliver Martext, 
the vicai of the next village, who hath promis'd to 
meet me in this place of the forest and to couple us. 
[' Aud.^ Well, the gods give us joy! 

Touch. Amen. A man may, if he were of a 
fearful heart, stagger in this attempt; for here 
we have no temple but the wood, no assembly 
but horn-beasts. But what though? Courage! 
No: as a wall'd town is more worthier than a vil- 
lage, so is the forehead of a married man more 
honourable than the bare brow of a bachelor: 

Come, sweet Audrey * 

O sweet Oliver, 

O brave Oliver, 
Leave me not behind thee: 

Wind away. 

Begone, I say, 
I will not to wedding with thee. 

[Exeunt Touchstone and Audrey, 

"9 



^Rosalind paces up and down L to R, Celia 
bantering her, 
^Laughingly, 



I20 



AS YOU LIKE IT 

Re-enter Rosalind^ and Celia from R U, 

Ros. L. Never talk to me; I will weep. 

Cel. L C, Do, I prithee; but yet have the 
grace to consider that tears do not become a man. 

Ros, R C. But have I not cause to weep? 

Cel. As good cause as one would desire; 
therefore weep. 

Ros. C, But why did he swear he would 
come this morning, and comes not? 

Cel. L C. Nay, certainly, there is no truth 
in him. 

Ros. C. Not true in love? 

Cel, Yes, when he is in; but I think he is 
not in. [Crosses to R. 

Ros. You have heard him swear downright 
he was. He attends here in the forest on the 
Duke your father. 

Ros.^ C. I met the Duke yesterday and had 
much question with him: he ask'd me of what 
parentage I was; I told him, of as good as he; 
so he laugh'd and let me go. But what talk 
we of fathers, when there is such a man as 
Orlando? 

Cel. R. 0, that's a brave man! he writes 
brave verses, speaks brave words, swears brave 

121 



^Looking off up L, 

Note, — Covings little scene is not necessary, 
^Phebe crosses to R; Silmus follows; Rosalind 
and Celia go up R and watch, 
^Silvius drops down to L C. 
^There is too much of Fhebe. 



122 



AS YOU LIKE IT 

oaths and breaks them bravely. Who comes 
here?^ 
Enter Silvius (2) and Phebe (i)^ up L. 

Sil, L C. Sweet Phebe, do not scorn me; 

do not, Phebe; 
Say that you love me not, but say not so 
In bitterness. (The common executioner, 
Whose heart th' accustom'd sight of death makes 

hard, 
Falls not the axe upon the humbled neck 
But first begs pardon :) will you sterner be 
Than he that dies and lives by bloody drops? 

Rosalind, Celia, watch behind. 

Phe, R C, 1 would not be thy executioner: 
I fly thee, for I would not injure thee.^ 
Thou tell'st me there is murder in mine eye: 
Now I do frown on thee with all my heart; 
And if mine eyes can wound, now let them kill 
thee:^ 

SiL (Crosses to L C.) dear Phebe, 
If ever — as that ever may be near — 
You meet in some fresh cheek the power of fancy, 
Then shall you know the wounds invisible 
That love's keen arrows make. 

123 



^She takes hold of Phehe and swings her round 
into Silvius's arms; then runs up C, 



124 



AS YOU LIKE IT 

Phe. R C. But till that time 

Come not thou near me: and when that time 

comes, 
Afflict me with thy mocks, pity me not; 
As till that time I shall not pity thee. 
Ros. C, {Coming forward.) And why, I pray 

you? Who might be your mother, 
That you insult, exult, and all at once, 
Over the wretched? What! though you have 

no beauty — 
As, by my faith, I see no more in you 
Than without candle may go dark to bed — 
Must you be therefore proud and pitiless? 
Why, what means this? 'Od's my httle life, 
I think she means to tangle my eyes too! 
No, faith, proud mistress, hope not after it: 
But, mistress, know yourself: down on your 

knees, 
And thank Heaven, fasting, for a good man's 

love: 
For I must tell you friendly in your ear. 
Sell when you can: you are not for all markets: 
Cry the man mercy: love him; take his offer : 
Foul is most foul, being foul to be a scoffer. 
So take her to thee, shepherd^: fare you well. 

125 



^Phebe breaks away and follows Rosalind. 
^Fiercely. 

^Celia goes up to R. Rosalind goes down to 
Silvius at L, 

^Goes back to C, then stops and looks at Phebe, 
^Slight pause, looking after Rosalind. 



126 



AS YOU LIKE IT 

Phe} Sweet youth, I pray you, chide a 
year together: 
I had rather hear you chide than this man 
woo. 
Ros.^ C, I pray you, do not fall in love with 
me. 
For I am falser than vows made in wine : 
Besides, I like you not. If you will know my 

house, 
'T is at the tuft of olives here hard by. 
Will you go, sister?^ Shepherd, ply her hard. 
Come, sister.^ Shepherdess, look on him better. 
And be not proud : though all the world could see, 
None could be so abus'd in sight as he. 
Come, to our flock. 

[Exeunt Rosalind, Celia, up R. 
Phe} Dead shepherd, now I find thy saw of 
might, 
^' Who ever lov'd that lov'd not at first sight? " 
Sil. Sweet Phebe, — 
Phe. {Sits log R C). Ha, what say'st thou, 

Silvius? 
Sil. R C. Sweet Phebe, pity me. 
Phe. Thou hast my love: is not that neigh- 
bourly? 

127 



^Standing over her. 

^As if she had been listening. 

^Poor Silvius is disappointed again. 

^Phebe sits all the time. 

^Rises. 



128 



AS YOU LIKE IT 

Sil. I would have you. 

Fhe. Why, that were covetousness. 
Silvius, the time was that I hated thee, 
And yet it is not that I bear thee love; 
But since that thou canst talk of love so well, 
Thy company, which erst was irksome to me, 
I will endure, and I'll employ thee too : 
But do not look for further recompense 
Than thine own gladness that thou art em- 
ployed. 

Sil.^ R C. So holy and so perfect is my love, 
And I, in such a poverty of grace, 
That I shall think it a most plenteous crop 
To glean the broken ears after the man 
That the main harvest reaps : loose now and then 
A scatter'd smile, and that I'll live upon. 

Fhe,^ Know'st thou the youth that spoke to 
me erewhile? 

Sil.^ Not very well, but I have met him oft; 

Phe.^ Think not I love him, though I ask for 
him; 
I love him not nor hate him not; and yet 
I have more cause to hate him than to love him: 
For what had he to do to chide at me? 
I marvel why I answer'd not again^: 

129 



^Coaxingly. 

^So gladly; to do any small or great service. 

^She crosses up L. 

^Puts out her hand, he gladly takes it, they go of. 

In theatre this scene ends Act j. In open air 
the scenes are continuous except for a short musical 
piece of two or three minutes for resting the audi- 
ence. The audience want an occasional break as 
well as the actors, for they often suffer long and 
are long-suffering! 

^Rosalind comes on first, looks around and is 
very annoyed. After a few moments she sits on 
log R, then Orlando comes on, taking it easily. 



130 



AS YOU LIKE IT 

I'll write to him a very taunting letter, 

And thou shalt bear it^: wilt thou, Silvius? 
SiL L C. Phebe, with all my heart. ^ 
Phe. I'll write it straight; 

The matter 's in my head and in my heart^; 

I will be bitter with him and passing short. 

Go with me, Silvius.^ [Exeunt L. 

Enter Rosalind^ from R, and Orlando from L, 

Orl. L C. Good day and happiness, dear 
Rosalind ! 

Ros. R C. Why, how now, Orlando! where 
have you been all this while? You a lover! 
An you serve me such another trick, never come 
in my sight more. 

Orl. My fair Rosalind, I come within an hour 
of my promise. 

Ros, Break an hour's promise in love! He 
that will divide a minute into a thousand parts 
and break but a part of the thousandth part of 
a minute in the affairs of love, it may be said of 
him that Cupid hath clapped him o' th' shoulder, 
but I'll warrant him heart-whole. 

Orl. Pardon me, dear Rosalind. 

Ros. Nay, an you be so tardy, come no 



^Crosses to tree L C, 

^He goes to her. 

^Bumps down on log L C. 



132 



AS YOU LIKE IT 

more in my sight: I had as lief be woo^d of 
a snail. 

OrL Of a snail? 

Ros, Ay, of a snail; for though he comes 
slowly, he carries his house on his head. 

Ros.^ Come, woo me, woo me, for now I am 
in a holiday humour and Hke enough to consent.^ 
What would you say to me now, an I were your 
very, very Rosalind? 

Orl. R C. I would kiss before I spoke. 

Ros. L C. Nay, you were better speak first, 
and when you were gravelled for lack of matter, 
you might take occasion to kiss. 

OrL How if the kiss be denied? 

Ros. Then she puts you to entreaty, and 
there begins new matter. 

OrL Who could be out, being before his 
beloved mistress? 

Ros. Am not I your Rosalind? 

OrL I take some joy to say you are, because 
I would be talking of her. 

Ros. Well, in her person I say I will not have 
you. [Crosses to RC] 

OrL (Crosses to L C.) Then in mine own 
person I die.^ 

133 



(Matter in parentheses may he omitted.) 
^Taking stage R. 
^Crosses to C R, 
^Crosses to C L. 



134 



AS YOU LIKE IT 

Ros. No, faith, die by attorney. The poor 
world is almost six thousand years old, and in 
all this time there was not any man died in his 
own person, videlicet, in a love-cause. (Troilus 
had his brains dash'd out with a Grecian club; 
yet he did what he could to die before, and he 
is one of the patterns of love. Leander, he 
would have liv'd many a fair year, though Hero 
had turn'd nun, if it had not been for a hot 
midsummer night; for, good youth, he went but 
forth to wash him in the Hellespont and being 
taken with the cramp was drown'd: and the 
fooKsh coroners of that age found it was "Hero 
of Sestos." But these are all lies:) men have 
died from time to time and worms have eaten 
them, but not for love.^ 

Orl. I would not have my right Rosalind of 
this mind, for, I protest, her frown might kill me. 

Ros. By this hand, it will not kill a fly.^ 
But come, now I will be your Rosalind in a more 
coming-on disposition, and ask me what you will, 
I will grant it. 

OrL^ Then love me, Rosalind. 

Ros, Yes, faith, will I, Fridays and Saturdays 
and all. 

13s 



^Clapping both hands on his shoulders. 

^Taking stage R. 

^Celia comes down C, Rosalind puts Celiacs 
hood on her. Rosalind R C, Celia C, Orlando L C. 

^This should be chanted — even intoned. 

^Chanting in fun. 

^Spoken. 

"^Spoken. 

^Rosalind kisses Celia. 

^Celia swings hands; then sighs; Orlando sighs; 
Celia leaves their hands; they still swing; then 
Orlando discovers what he is doing; thinks it 
foolish, drops hand; and all laugh. Rosalind goes 
Rj Celia up C, Orlando L. 



136 



AS YOU LIKE IT 

Orl. And wilt thou have me? (Kneels.) 

Ros.^ Ay, and twenty such. 

Orl. What say est thou? (Rises quickly.) 

Ros. Are you not good? 

OrL I hope so. 

Enter Celia up R. 

Ros. Why then, can one desire too much of 
a good thing? ^ Come, sister, you shall be the 
priest and marry us.^ Give me your hand, 
Orlando. What do you say, sister? 

Orl. L C. Pray thee, marry us. 

Cel. C. I cannot say the words. 

Ros. R C. You must begin. Will you, Or- 
lando 

Cel. Go to.^ Will you, Orlando, have to wife 
this RosaKnd? 

Orl. I will.^ 

Ros. Ay, but when? 

Orl. Why now; as fast as she can marry us. 

Ros. Then you must say,^ I take thee, Rosa- 
lind, for wife. 

Orl.'^ I take thee, Rosalind, for wife. 

Ros.^ I might ask you for your commission; 
but I do take thee, Orlando, for my husband.^ 

137 



Note. — Stage ^^ business ^^ is action, sometimes 
during a speech, sometimes in silence. The swing- 
ing of the hands at the mock marriage is called 
business. 

'^Laughs loudly. 

^Trumpet or horns heard in distance of up L, 



138 



AS YOU LIKE IT 

Ros. L. Now tell me how long you would 
have her after you have possess'd her. 

OrL L. For ever and a day. 

Ros, {crosses to C). Say "a day," without 
the "ever.'^ No, no, Orlando; men are April 
when they woo, December when they wed: 
maids are May when they are maids, but the 
sky changes when they are wives. I will be more 
jealous of thee than a Barbary cock-pigeon over 
his hen, more clamorous than a parrot against 
rain, more new-fangled than an ape, more giddy 
in my desires than a monkey: I will weep for 
nothing, Hke Diana in the fountain, and I will 
do that when you are dispos'd to be merry; I 
will laugh Hke a hyen,^ and that when thou art 
inclin'd to sleep. 

OrL R. But will my Rosalind do so? 

Ros. C. By my Hfe, she will do as I do. 

OrL 0, but she is wise. 

Ros. Or else she could not have the wit to 
do this: the wiser, the wayivarder: make the 
doors upon a woman's wit and it will out at the 
casement; shut that and 't will out at the key- 
hole; stop that, 't will fly with the smoke out 
at the chimney. {Crosses to R.Y 

139 



Wistant horns or singing is still heard ojff up L, 

^Sits on log R. 

^Weeps. He goes and takes hands from eyes; 
she laughs. 

^Horns nearer or singing. 

^She beckons and he comes over. She signals for 
him to kiss her hand. He laughingly does so. 

Horns sound very near up L, or singing louder. 

^As Orlando exits Rosalind kisses hack of her 
hand. 

"^Goes of up R. 

^Gives a big yawn and drops down under tree 
L C to sleep. 

If in theatre a landscape of forest cloth same as 
Scene 2, Act 2, is used, or the same scene can be 
used all through with perhaps a variation in the 
lighting, all scenes being full daylight till the faint- 
ing scene when there should be a sunset effect. 



140 



AS YOU LIKE IT 

Orl. For these two hours RosaKnd, I will 
leave thee. 

Ros. (weeping). Alas! dear love, I cannot 
lack thee two hours. 

Orl. I must attend the Duke at dinner: by 
two o'clock I will be with thee again.'^ 

Ros. Ay, go your ways, go your ways;^ that 
flattering tongue of yours won me.^ Two 
o'clock is your hour? 

Orl. Ay, sweet Rosalind. (Crosses up to L.y 

Ros. If you break one jot of your promise 
or come one minute behind your hour, I will 
think you the most pathetical break-promise 
and the most hollow lover and the most un- 
worthy of her you call Rosalind that may be 
chosen out of the gross band of the unfaithful. 

Orl. With no less religion than if thou wert in- 
deed my Rosalind^ ; so adieu ! [Exit Orlando upL.^ 

Cel. You have simply misus'd our sex in 
your love-prate: 

Ros. O coz, coz, coz, my pretty little coz, 
that thou didst know how many fathom deep 
I am in love! I'll tell thee, Aliena, I cannot 
be out of the sight of Orlando: I'll go find a 
shadow and sigh till he come.^ 

Cel. And I'll sleep.^ [Exeunt. 

141 



'^They are heard singing as scene changes. 
They come on in irregular procession, sometimes 
carrying a dead deer. 

^This song should he sung either to one of the 
old catches or to Arne's setting. 

^At end they march of singing. 

This scene should he given if possihle, as it 
makes a pleasant "interlude.'^ 

Note. — In Knighfs "Shakespeare^s^' is given the 
quaintest music to the Forester^ s song. It is taken 
from a work entitled " Catch that Catch Can; or a 
Choice Collection of Catches, Rounds, etc., collected 
and published hy John Hilton.''^ Hilton was of 
Shakespeare^ s time, and whether or not this air was 
actually sung when ^^ As You Like It '' was given, 
the music is contemporaneous with the play. It 
is a round written for four basses. 



142 



AS YOU LIKE IT 



Scene II. 
Enter Jaques, Lords, and Foresters, from R 1} 

Jaq, C. Which is he that killed the deer? 

A Lord. L C. Sir, it was I. 

Jaq. C. Let's present him to the Duke, 
like a Roman conqueror; and it would do well 
to set the deer's horns upon his head, for a branch 
of victory. Have you no song, forester, for 
this purpose? 

For. Yes, sir. 

Jaq. Sing it: 't is no matter how it be in 
tune, so it make noise enough. 

SONG.2 



For. What shall he have that kill the deer? 

His leather skin and homs to wear. 
Take thou no scorn to wear the horn: 
It was a crest ere thou wast born. 



Thy father's father wore it, 

And thy father bore it: 

The horn, the horn, the lusty horn 
Is not a thing to laugh to scorn. 



Then sing 
him home; 
the rest 
shall bear 
this bur- 
then. 



> Burthen 
Exeunt.* 



143 



At end of song Rosalind comes from R, seeks 
for Celia, and finds her asleep behind tree L. She 
wakes her J they laugh, and Silvius comes on. 

^Celia looks over letter, she is R, Celia R, Rosa- 
lind C, Silvius L, 



144 



AS YOU LIKE IT 

Enter Silvius, from L. 

Sil. L C. My errand is to you, fair youth; 
My gentle Phebe bid me give you this: 
It bears an angry tenour: pardon me; 
I am but as a guiltless messenger. 

Ros. C. Patience herself would startle at 
this letter^ 
And play the swaggerer; 
Well, shepherd, well, 
This is a letter of your own device. 

Sil. No, I protest, I know not the contents : 
Phebe did write it. 

Ros. Why, 't is a boisterous and a cruel style, 
A style for challengers. Will you hear the letter? 

Sil. L C. So please you, for I never heard 
it yet; 
Yet heard too much of Phebe's cruelty. 

Ros. C. She Phebes me: mark how the tyrant 
writes. [Reads, 

Art thou god to shepherd tum'd, 
That a maiden's heart hath bum'd? 

Can a woman rail thus? 
Sil. Call you this railing? 

145 



^Gives him letter. Looks at him; he stands 
dejected. 
^Celia Rf Oliver C, Rosalind L. 



146 



AS YOU LIKE IT 
Ros. (Reads.) 

Why, thy godhead laid apart, 
Warr'st thou with a woman's heart? 

Did you ever hear such railing? (To Celia) 

Whiles the eye of man did woo me, 
That could do no vengeance to me. 

Meaning me a beast. 

Sil. L C. Call you this chiding? 

Cel. R C, Alas, poor shepherd! 

Ros. C. Do you pity him? no, he deserves 
no pity, 
Wilt thou love such a woman? ^ Well, go 
your way to her, for I see love hath made 
thee a tame snake, and say this to her: that if 
she love me, I charge her to love thee; if she will 
not, I will never have her unless thou entreat for 
her. If you be a true lover, hence, and not a 
word; for here comes more company. (X to L.) 

[Exit SilviuSj L /. 

Enter Oliver, from up L.^ 

OIL Good morrow, fair ones: pray you, if 
you know. 
Where in the purlieus of this forest stands 
A sheepcote fenc'd about with olive trees? 

147 



^A little overcome. 

^This is one of the most difficult speeches in 
Shakespeare. It is almost impossible to condense. 
It must therefore he left to the studenfs discretion. 



148 



AS YOU LIKE IT 

Cel. R. West of this place, down in the neigh- 
bour bottom: 
But at this hour the house doth keep itself; 
There's none within. 

Oli. If that an eye may profit by a tongue, 
Then should I know you by description; 
Such garments and such years: 

Are not you 
The owner of the house I did inquire for? 
Cel. It is no boast, being ask'd, to say we are. 
Oli. Orlando doth commend him to you both. 
And to that youth he calls his Rosalind 
He sends this bloody napkin. Are you he? 
Ros. I am^: what must we understand by 

this? 
Oli. Some of my shame; if you will know 
of me 
What man I am, and how, and why, and where 
This handkercher was stain'd. 
Cel. (Still R to R C.) I pray you, tell it. 
Oli.'^ When last the young Orlando parted 
from you 
He left a promise to return again 
Within an hour; and pacing through the forest. 
Chewing the food of sweet and bitter fancy, 

149 



AS YOU LIKE IT 

Lo, what befel! He threw his eye aside 
And mark what object did present itself: 
Under an oak, whose boughs were moss'd with age 
And high top bald with dry antiquity, 
A wretched ragged man overgrown with hair, 
Lay sleeping on his back; about his neck 
A green and gilded snake had wreath'd itself, 
Who, with her head nimble in threats, ap- 

proach'd 
The opening of his mouth; but suddenly, 
Seeing Orlando, it unHnk'd itself. 
And with indented ghdes did slip away 
Into a bush: under which bush's shade 
A lioness, with udders all drawn dry, 
Lay crouching, head on ground, with catlike 

watch. 
When that the sleeping man should stir; for 't is 
The royal disposition of that beast 
To prey on nothing that doth seem as dead: 
This seen, Orlando did approach the man 
And found it was his brother, his elder brother. 
Cel. O, I have heard him speak of that same 

brother; 
And he did render him the most unnatural 
That liv'd amongst men. 

151 



^Horrified crosses to Rosalind. 
'^Rosalind horrified^ crosses to Celia, they meet 
RC. 

^Rosalind is by now much affected, 
^Lights get lower. 



IS2 



AS YOU LIKE IT 

on. And well he might so do, 
For well I know he was unnatural. 

Ros, But, to Orlando: did he leave him 
there. 
Food to the suck'd and hungry lioness? 

OH. Twice did he turn his back and pur- 
posed so; 
But kindness, nobler ever than revenge, 
And nature, stronger than his just occasion. 
Made him give battle to the lioness, 
Who quickly fell before him: in which hurtling 
From miserable slumber I awaked. (Crosses 
to L) 

Cel} Are you his brother? 

Ros} Was 't you he rescued? 

Cel. Was 't you that did so oft contrive to 
kill him? 

on. 'T was I: but 't is not I: I do not shame 
To tell you what I was, since my conversion 
So sweetly tastes, being the thing I am. 

Ros, But, for the bloody napkin?^ 

on. By and by.^ 
(When from the first to last betwixt us two 
Tears our recountments had most kindly bath'd, 
As how I came into that desert place — ) 

IS3 



^Celia R C, Rosalind C, Oliver L C. 



1 54 



AS YOU LIKE IT 

In brief, he led me to the gentle Duke, 

Who gave me fresh array and entertainment. 

Committing me unto my brother's love; 

Who led me instantly unto his cave, 

There stripp'd himself, and here upon his arm 

The Koness had torn some flesh away, 

Which all this while had bled; and now he 

fainted 
And cried, in fainting, upon Rosalind. 
Brief, I recover'd him, bound up his wound; 
And, after some small space, being strong at 

heart. 
He sent me hither, stranger as I am. 
To tell this story, that you might excuse 
His broken promise, and to give this napkin 
Dyed in his blood unto the shepherd youth 
That he in sport doth call his Rosalind. 

[Rosalind swoons^ 
Cel. Why, how now, Ganymede ! sweet Gany- 
mede ! 
OH, Many will swoon when they do look 

on blood. 
Cel. There is more in it. Cousin Ganymede! 
on. Look, he recovers. 
Ros. I would I were at home. 

15s 



^Oliver takes Ganymede^s left army supporting 
him, Celia on R. 

^With faint smile. 

^Lights lower, 

^Very faintly. 

^Hitting her on shoulder. She lurches forward 
on to their arms. 

^They move up stage a little. 

'^She gives a lurch and falls round into Oliver^ s 
left arm. They gently let her down on to the 
ground. 

In theatre this scene ends Act 4. In open 
air Rosalind is supported {perhaps carried of, 
between Oliver and Celia). 

Soft music, ^' pastoral,^' can be played. The 
lights are lowered half, with a reddish-amber glow. 

Three minutes interval or less. 



156 



AS YOU LIKE IT 

Cel. We'll lead you thither. 

I pray you, will you take him by the 
arm? ^ 

Oli. Be of good cheer, youth; you a man! 
you lack a man's heart. 

Ros} I do so, I confess it. Ah, sirrah, a body 
would think this was well counterfeited! I 
pray you, tell your brother how well I counter- 
feited. Heigh-ho! 

Oli. This was not counterfeit: there is too 
great testimony in your complexion that it was 
a passion of earnest.^ 

Ros} C. Counterfeit, I assure you. 

Oli. Well then, take a good heart and coun- 
terfeit to be a man.^ 

Ros. So I do : but, i' faith, I should have been 
a woman by right. 

Cel. Come, you look paler and paler: pray 
you, draw homewards. Good sir, go with 
us.^ 

Oli. That will I, for I must bear answer back. 
How you excuse my brother, Rosalind. 

Ros. I shall devise something: but I pray 
you, commend my counterfeiting to him. Will 
you go?^ [Exeunt. 

IS7 



r 



This scene is transposed to give Rosalind and 
Celia time to change costume, 

^Or they can he discovered seated on log L C. 

^Oliver rises. 

^She conies down. 

^Laughing. 

^Slight pause; fears Oliver suspects her sex! 



158 



AS YOU LIKE IT 

Scene (same). The forest. 
Enter Orlando and Oliver^ from L, 

Orl. Is 't possible that on so little acquaint- 
ance you should like her? that but seeing, you 
should love her? and loving woo? 

Oli, Neither call the giddiness of it in ques- 
tion, but say with me, I love Aliena; say with 
her that she loves me; for my father's house and 
all the revenue that was old Sir Rowland's will 
I estate upon you and here live and die a shep- 
herd. 

Orl. Let your wedding be to-morrow; thither 
will I invite the Duke and all 's contented fol- 
lowers. Go you and prepare Aliena; for look 
you, here comes my RosaHnd. 

Enter Rosalind^ up R} 

Ros. God save you, brother. 

OH. And you, fair sister. (Goes up C.) [Exit.^ 

Ros.^ 0, my dear Orlando, how it grieves 
me to see thee wear thy heart in a scarf! 

Orl. (sitting L). It is my arm. 

Ros. C. I thought thy heart had been 
wounded with the claws of a lion. 

159 



^Trying to change the subject, 

^Rises and crosses to R. He sits on log R. 

^Orlando sighs and puts hand on heart. 



i6o 



AS YOU LIKE IT 

Orl. L C, Wounded it is, but with the eyes 
of a lady. 

Ros} C. Did your brother tell you how I 
counterfeited to swoon when he show'd me your 
handkercher? 

OrL L C. Ay, and greater wonders than 
that. 

Ros. C. O, I know where you are ; for your 
brother and my sister no sooner met but they 
look'd, no sooner look'd but they lov'd, no sooner 
lov'd but they sigh'd, no sooner sigh'd but they 
ask'd one another the reason, no sooner knew the 
reason but they sought the remedy; 

Orl. They shall be married to-morrow, and 
I will bid the Duke to the nuptial. But, O, 
how bitter a thing it is to look into happiness 
through another man's eyes. 

Ros, Why then, to-morrow I cannot serve 
your turn for Rosalind? 

Orl.'^ I can live no longer by thinking. 

Ros. I will weary you then no longer with 
idle talking. I have since I was three year old 
convers'd with a magician, most profound in 
his art and yet not damnable. If you do love 
RosaKnd^ so near the heart as your gesture cries 

i6i 



^Rises excitedly. 

^Orlando i?, Rosalind C, Phebe L C, Silvius L. 

Note. — This quartette scene must be played with 
intensity and animation. 

^Looking at Phebe. 

"^Looking yearningly at Ganymede. 

^ Phebe moves toward Ganymede; he waves her 
of. This business is repeated each time. 



162 



AS YOU LIKE IT 

it out, when your brother marries Aliena, shall 
you marry her. 

Orl.^ Speak'st thou in sober meanings? 

Ros. By my life, I do; which I tender dearly, 
Therefore, bid your friends; for if you will be 
married to-morrow, you shall, and to Rosalind, if 
you will. 

Enter Silvius and Phebe from L? 

Look, here comes a lover of mine and a lover of 
hers. 
Phe. L C, Youth, you have done me much 
ungentleness, 
To show the letter that I writ to you. 

Ros. C. I care not if I have: it is my study 
To seem despiteful and ungentle to you: 
You are there followed by a faithful shepherd; 
Look upon him, love him; he worships you. 
Fhe. L C. Good shepherd, tell this youth 

what 't is to love. 
Sil. L. It is to be all made of sighs and tears; 
And so am I for Phebe.^ 
Phe. L C. And I for — Ganymede.* 
Orl. And I for Rosalind. 
Ros. And I for^ — no woman. 

163 



^Emphasize this "all" 
^Stopping her ears. 
^Going down L to him. 
^Remains between Silvius and Phebe, 
^Crosses to Orlando j who is R, 



164 



AS YOU LIKE IT 

Sil. It is to be all made of faith and service; 
And so am I for Phebe. 

Phe, And I for — Ganymede. 

Orl, And I for Rosalind. 

Ros, And I for — no woman. 

SiL It is to be all made of fantasy, 
All made of passion and all made of wishes, 
All adoration, duty, and observance. 
All humbleness, all patience, and impatience, 
All purity, all trial, all^ observance; 
And so am I for Phebe. 

Phe. And so am I for — Ganymede. 

OrL And so am I for Rosalind. 

Ros, And so am I for — no woman. 

Ros,^ Pray you, no more of this; 't is Hke 
the howling of Irish wolves against the moon. 
[To Sil.^] I wiU help you, if I can: [To Phe}] 
I would love you, if I could. To-morrow meet 
me all together. [To Phe.] I will marry you, 
if ever I marry woman, and I'll be married to- 
morrow:^ [To OrL] I will satisfy you, if ever 
I satisfied man, and you shall be married to- 
morrow: [To Sil.] I will content you, if what 
pleases you contents you, and you shall be 
married to-morrow. [To OrL] As you love 

i6s 



^Running up to C up R. 

^Goes off L I. 

^Goes off up L. 

^Goes off RI, 

If an open air built stage or an Elizabethan 
stage, both of which can only have two exits, one 
R and one L upper stage, with a possible third C. 
These quick exits must be manipulated accordingly. 



i66 



AS YOU LIKE IT 

Rosalind, meet: [To Sil.] as you love Phebe, 
meet^: and as I love — no woman, I'll meet. 
So fare you well: I have left you commands. 

Sil. I'U not fail, if I Hve.^ 

Fhe. Nor I.^ 

Orl. Nor I.* [Exeunt in all directions. 



167 



ACT III. 

Scene II. The forest, 

Ew/e/' Touchstone and Ajjd^^y from L i. 

Touch. R C. We shall find a time, Audrey; 
patience, gentle Audrey. 

A^ld, L C. Faith, the priest was good 
enough, for all the old gentleman's saying. 

Touch. RCA most wicked Sir Oliver, 
Audrey, a most vile Martext. But, Audrey, 
there is a youth here in the forest lays claim 
to you. 

Aud. L C. Ay, I know who 't is: he hath 
no interest in me in the world: here comes the 
man you mean. 

Touch. R C. It is meat and drink to m^e to 
see a clown: by my troth, we that have good wits 
have much to answer for; we shall be flouting; 
we cannot hold. 

169 




In theatre, landscape cloth if desired. 

^William bobs and takes of hat. 

^Audrey bobs. 

^Touchstone bobs. 

^Puts hat on William's head each time. 

^He generally has very red hair. Touchstone 
doesn't like his red head; but William wishes to 
be polite. 

^He gives hand, Touchstone reads his palm. 
Audrey giggling also reads hers. 



170 



AS YOU LIKE IT 

Enter William, from R I or R U, 

Will. R. Good even, Audrey. {Bobbing)^ 

Aud. L. God ye good even, William.^ {Bobs.) 

Will. R. And good even to you, sir. 

Touch. C, Good even, gentle friend.^ (Bob- 
bing.) Cover thy head, cover thy head; nay, 
prithee, be cover'd. How old are you, friend? 

Will. Five — and twenty, sir. (Takes of hat) 

Touch. A ripe age.^ Is thy name William? 

Will. WilKam, sir. 

Touch.^ A fair name. Wast born i* th' 
forest here? 

Will. Ay, sir, I thank God. 

Touch. "Thank God"; a good answer. Art 
rich? 

Will. Faith, sir, so so. 

Touch. *'So so" is good, very good, very 
excellent good; and yet it is not- it is but so so. 
Art thou wise? 

Will. Ay, sir, I have a pretty wit. 

Touch. Why, thou say^st well. You do 
love this maid? 

Will. I do sir. 

Touch. Give me your hand.^ Art thou 
learned? 

171 



Wrops hand, becomes very fierce. 

^He drives William around stage, pointing his 
bauble at each movement. Audrey follows around, 
imitating Touchstone. They go round once, fin- 
ishing at R C as they go off. William returns, 
making tremendous strides and following them. 
Here may follow the Pages scene and the duet. 
It is pretty, but delays action. 



172 



AS YOU LIKE IT 

Will No, sir. 

Touch. Then learn this of me: to have, is 
to have; for all your writers do consent that 
ipse is he : now, you are not ipse^ for I am he 

Will. Which he, sir? 

Touch.^ He, sir, that must marry this woman. 
Therefore, you clown, abandon,^ which is in 
the vulgar leave, — the society, — which in the 
boorish is company, — of this female, — which in 
the common is woman; which together is, aban- 
don the society of this female, or, clown, thou 
perishest; or, to thy better understanding, diest. 
I will kill thee a hundred and fifty ways: there- 
fore tremble, and depart. 

Aud. Do, good William. 

Will. God rest you merry, sir. {Runs of 
R.) [Exit. 

Touch. Trip, Audrey! trip, Audrey. (To- 
morrow is the joyful day, Audrey: to-morrow 
will we be married.) 

Aud. I do desire it with all my heart. 
Here comes two of the banish'd Duke's pages. 

Enter two Pages from R. 

First Page. RC. Well met, honest gentleman. 

173 



In theatre this would he the forest drop. 

Note. — Original MS. of this song is in the 
Library of Mr. Marsden Perry at Providence, 
R. I. There are imitations. 

^They all sit on ground. Pages R C, Touch- 
stone and Audrey L C. 

^Chorus each time. 



174 



AS YOU LIKE IT 

Touch, C By my troth, well met. Come, 
sit, sit, and a song.^ 

Sec. Page. R. We are for you: sit i' th' 
middle. 

First Page, Shall we clap into 't roundly, with- 
out hawking or spitting or saying we are hoarse, 
which are the only prologues to a bad voice ? 

Sec. Page. T faith, i' faith; and both in a 
tune, Hke two gipsies on a horse. 

SONG^ 

First Boy. It was a lover and his lass, 

With a hey, and a ho, and a hey nonino, 

That o'er the green cornfield did pass 

In the spring time, the only pretty ring time, 

When birds do sing, hey ding-a-ding, ding: 
Sweet lovers love the spring. 

Second Boy. Between the acres of the rye, 

With a hey, and a' ho, and a hey nonino. 
These pretty country folks would lie, 
In the spring time, etc. 

First Boy. This carol they began that hour, 

With a hey, and a ho, and a hey nonino, 
How that a life was but a flower 
In spring time, etc. 

Second Boy. And therefore take the present time. 

With a hey, and a ho, and a hey nonino; 
For love is crowned with the prime 
In spring time, etc. 

17s 



^All get up. 

^The hoys laugh and sing of to R the refrain, 
^'Hey ding-a-ding'' and dancing. {Then Touch- 
stone and Audrey do the same singing and dancing 
offL.) 

^Theatre all discovered on. Open air. All enter 
from R and L. 

^Orlando is left of Duke 




Oliver Orlando 



Siivia9 



176 



AS YOU LIKE IT 

Touch} Truly, young gentlemen, though 
there was no great matter in the ditty, yet the 
note was very untimeable. 

First Page. You are deceived, sir: we kept 
time, we lost not our time. 

Touch, By my troth, yes; I count it but time 

lost to hear such a foolish song. God b' wi^ 

you; and God mend your voices!^ Come, 

Audrey. [Exeunt. 

Scene IV.^ The forest. 

Enter Duke senior, C; Amiens, Jaques, up R: 
Orlando L C, Oliver Z, Silvius, and Phebe 
come on L 

Duke S. C. Dost thou believe, Orlando, 
that the boy 
Can do all this that he hath promised? 

^ L. 1 sometimes do beHeve, and some- 
times do not; 
As those that fear they hope, and know they fear. 
Duke S. I do remember in this shepherd boy 
Some lively touches of my daughter's favour. 
Orl. My lord, the first time that I ever saw 
him 
Me thought he was a brother to your daughter. 

177 



^Touchstone and Audrey are heard of L U. 

^Comes down C to R. 

^Coming down C to L. 

^Audrey is very awkwardly dressed in a lady- 
jester^ s costume. She attracts the attention of Duke 
and others. 



178 



AS YOU LIKE IT 

But, my good lord, this boy is forest-born, 
And hath been tutor'd in the rudiments 
Of many desperate studies by his uncle, 
Whom he reports to be a great magician, 
Obscured in the circle of this forest.^ 

Enter Touchstone and Audrey. 

Jaq.^ There is, sure, another flood toward, 
and these couples are coming to the ark. Here 
comes a pair of very strange beasts, which in 
all tongues are called fools. 

Touch.^ Salutation and greeting to you 
all! 

Jaq. R C. Good my lord, bid him welcome: 
this is the motley-minded gentleman that I have 
so often met in the forest; he hath been a cour- 
tier, he swears. 

Touch. C. If any man doubt that, let him 
put me to my purgation. 

Jaq. Good my lord, like this fellow. 

Duke S. I Hke him very well. 

Touch. God 'ield you, sir; I desire you the 
like.'* A poor virgin, sir, an ill-favoured thing, 
sir, but mine own; a poor humour of mine, sir, 
to take that that no man else will: rich honesty 

179 



^Audrey gets into various positions. 
^Ptits Audrey on log L, then goes C, 



j8o 



AS YOU LIKE IT 

dwells in a poor house; as your pearl in your 
foul oyster. 

Duke S. By my faith, he is very swift and 
sententious. 

Touch. According to the fool's bolt, sir, and 
such dulcet diseases : — bear your body more 
seeming, Audrey.^ {Aside to her.) 

Jaq. But, for the seventh cause; how did 
you find the quarrel on the seventh cause? 

Touch. Upon a lie seven times removed: 
— bear your body more seeming, Audrey^: — 
as thus, sir. I did dislike the cut of a certain 
courtier's beard: he sent me word, if I said his 
beard was not cut well, he was in the mind it 
was: this is call'd the Retort Courteous. If I 
sent him word again ^4t was not well cut," he 
would send me word, he cut it to please himself; 
this is call'd the Quip Modest. If again ^4t was 
not well cut," he disabled my judgment: this is 
called the Reply ChurKsh. If again *'it was not 
well cut," he would answer, I spake not true: 
this is call'd the Reproof Valiant. If again ''it 
was not well cut," he would say, I Ked: this is 
called the Countercheck Quarrelsome: and so 
to the Lie Circumstantial and the Lie Direct. 

i8i 



^They all laugh, with free action suiting the 
words. 

Note. — These speeches of Touchstone can he 
omitted and it is rather advisable to do so, or our 
play is apt to get long, especially in the open air. 
If retained, they must he delivered rapidly, pre- 
cisely and with a good free action. 



182 



AS YOU LIKE IT 

Jaq. R C. And how oft did you say his 
beard was not well cut? 

Touch. C I durst go no further than the Lie 
Circumstantial, nor he durst not give me the 
Lie Direct; and so we measur'd swords and — 
parted.^ 

Jaq. Can you nominate in order now the 
degrees of the lie? 

Touch. O sir, we quarrel in print, by the 
book; as you have books for good manners. I 
will name you the degrees. The first, the 
Retort Courteous; the second, the Quip Modest; 
the third, the Reply Churlish; the fourth, the 
Reproof Valiant; the fifth, the Countercheck 
Quarrelsome; the sixth, the Lie with Circum- 
stance; the seventh, the Lie Direct. All these 
you may avoid but the Lie Direct; and you may 
avoid that too, with an If. I knew when seven 
justices could not take up a quarrel, but when 
the parties were met themselves, one of them 
thought but of an If, as "If you said so, then 
I said so;'' and they shook hands and swore 
brothers. Your If is the only peacemaker; 
much virtue in If. (Goes over to Audrey 
at L) 

183 



Note. — If the masque of Hymen is introduced 
it should he simple hut picturesque) no elaborate 
dresses to he used, hut rough and coarse garments 
made as daintily as possihle. There should he 
music. Hymen is represented as a youth hold- 
ing a torch, in ^^clasic^^ costume of white with a 
hay or hlossom wreath. 



184 



AS YOU LIKE IT 

Jaq. R C. Is not this a rare fellow, my lord? 
he's as good at any thing and yet a Fool. 

Duke S. He uses his folly Kke a stalking- 
horse and under the presentation of that he 
shoots his wit. 

Enter Hymen, Rosalind, and Cellv. 
Still Music. 

Hym. Then is there mirth in heaven, 
When earthly things made even 

Atone together. 
Good Duke, receive thy daughter: 
Hjonen from heaven brought her, 
Yea, brought her hither, 
That thou mightst join her hand with his 
Whose heart within his bosom is. 

Ros, {To Duke). To you I give myself for 
I am yours. 
(To Orl.) To you I give myself for I am yours. 
Duke S. If there be truth in sight, you are 

my daughter. 
Orl. If there be truth in sight, you are my 

RosaKnd. 
Phe. If sight and shape be true, 
Why then, my love, adieu! 
Ros. I '11 have no father, if you be not he : 

185 



^Celia comes down C as she goes up, Oliver 
goes to her from R. 

^On horseback if possible. 

^A general movement. 

^Be careful that the young man who plays this 
part can speak well, and learn the speech thor- 
oughly. It is one of the pitfalls of the stage. 



i86 



AS YOU LIKE IT 

I '11 have no husband, if you be not he: 
Nor ne'er wed woman, if you be not she. 
Duke S. C. O my dear niece, ^ welcome thou 
art to me! 
Even daughter, welcome, in no less degree. 

Enter Jaques de Boys.^ 

Jaq. de B. Let me have audience for a 
word or two^ : 
I am the second son of old Sir Rowland, 
That bring these tidings to this fair assembly. 
Duke Frederick, hearing how that every day 
Men of great worth resorted to this forest. 
Addressed a mighty power; which were on foot. 
In his own conduct, purposely to take 
His brother here and put him to the sword: 
And to the skirts of this wild wood he came; 
Where meeting with an old religious man. 
After some question with him, was converted 
Both from his enterprise and from the world. 
His crown bequeathing to his banish'd brother. 
And all their lands restor'd to them again 
That were with him exiled. This is to be true, 
I do engage my life. {Kneels to Duke.Y 

Duke S. Welcome, young man; 

187 



^Hymen^s speech here if "Masque^^ given. 
^Jaques down R. Orlando and Rosalind go 
up a little R C to Celia and Oliver. 
If desirable introduce the Masque. 



i88 



AS YOU LIKE IT 

Thou offer'st fairly to thy brother's wedding; 
To one his lands withheld, and to the other 
A land itself at large, a potent dukedom. 

(X to L) 

Enter Rosalind with Hymen^ 

Duke S. First, in this forest let us do those 
ends 
That here were well begun and well begot: 
And after, every of this happy number 
That have endur'd shrewd days and nights 

with us 
Shall share the good of our returned fortune, 
According to the measure of their states. 
Meanwhile, forget this new-fall'n dignity 
And fall into our rustic revelry. 
Play, music! And you, brides and bridegrooms 

all, 
With measure heap'd in joy, to th' measures fall. 
Jaq. R,^ Sir, by your patience — If I heard 
you rightly {to Jaques De Boys), 
The Duke hath put on a religious Hfe 
And thrown into neglect the pompous court? 

Jaq de B, R C, He hath. (Jaques crosses 
to R of Duke.) 

189 



^Crosses to Duke, who is L C. 

^These lines of Jaques can be omitted if the play 
has become too long. 

^A dance can be given here — or after the speak- 
ing of the Epilogue. If a theatre the curtain can 
fall. If in open air a dance and chorus can fol- 
low^ or the song. ^^It is as a Lover " can be used. 
If Hymen is introduced the ending should be 
classical; Hymen leading of Rosalind, Orlando, 
Celia, and Oliver with his train. Then the Duke 
would follow with his ^^ Merry Men,^^ the rear 
made up of Touchstone, Audrey, Silvius, Phebe, 
William and other rustics. 



290 



AS YOU LIKE IT 

Jaq} To him will I: out of these convertites 

There is much matter to be heard and 

learn'd.^ 

[To Duke] You to your former honour I 

bequeath; 

Your patience and your virtue well deserves it: 

[To Orl] You to a love that your true faith 

doth merit: 
[To OH.] You to your land and love and 

great allies: 
[To SiL] You to a long and well deserved bed : 
[To Touch.] And you to wrangling; for thy 
loving voyage 
Is but two months victuall'd. 
So, to your pleasures (^oing up C): 
I am for other than for dancing measures. 
Duke S, L C, Stay, Jaques, stay. 
Jaq. To see no pastime I: what you would 
have 
I'll stay to know at your abandon'd cave. 

[Exit R U. 
Duke S. Proceed, proceed: we will begin 
these rites, 
As we do trust they'll end, in true delights. 

[A dance.^ 

IQI 




Amiens 



J deBoja 



Position of Characters at Epilogue 

Note. The dance can he given after the epilogue, 
if desirable. It is quite picturesque to dance to 
the singing instead of to modern instruments 



192 



AS YOU LIKE IT 



EPILOGUE spoken by Rosalind, 

Ros, If it be true that good wine needs no 
bush, 't is true that a good play needs no epi- 
logue; yet to good wine they do use good bushes, 
and good plays prove the better by the help of 
good epilogues. What a case am I in then, 
that am neither a good epilogue nor cannot 
insinuate with you in the behalf of a good play ! 
I am not furnished Hke a beggar, therefore to 
beg will not decome me: my way is to conjure 
you; and I'll begin with the women. I charge 
you, O women, for the love you bear to men, 
to Hke as much of this play as please you: and 
I charge you, men, for the love you bear 
to women — as I perceive by your simpering, 
none of you hates them — that between you 
and the women the play may please. If I 
were a woman I would kiss as many of you as 
had beards that pleas'd me, complexions that 
lik'd me: and, I am sure, as many as have good 
beards or good faces will, for my kind offer, 
when I make curtsy, bid me farewell. 

[Exeunt, 

193 



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